Buckland-Warren-Puzzle-Films-Complex-Storytelling-Contemporary-Cinema

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Index 241X-Files, The 33Yau, Esther 154, 158Ye, Lou 10, 187–200Young and Innocent 188Zemeckis, Robert 37Zhang Yimou 187, 188Zhang Ziyi 168, 196Zhou Xun 191aibek, Slavoj 36
Page 2 and 3:
Puzzle Films
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Puzzle FilmsComplex Storytelling in
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ContentsList of ContributorsviiIntr
Page 8 and 9:
List of ContributorsDaniel Barratt
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List of ContributorsixHollywood (20
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2 Warren BucklandAll poetic arts, a
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4 Warren BucklandIn reading Bordwel
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6 Warren Bucklandfilm again, rather
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8 Warren Bucklandprocess of narrati
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10 Warren BucklandAllan Cameron and
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12 Warren Buckland4 Eleftheria Than
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14 Thomas Elsaessergenre or a sub-g
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16 Thomas Elsaesserdetails that do
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18 Thomas Elsaesserturns out that t
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20 Thomas Elsaessersituations, and
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22 Thomas ElsaesserA countervailing
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24 Thomas Elsaesserwindows, refresh
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26 Thomas ElsaesserYet paranoia, on
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28 Thomas Elsaesserhim. Donnie Dark
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30 Thomas Elsaessersame time as the
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32 Thomas Elsaesserwriters such as
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34 Thomas Elsaesserand syndication
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36 Thomas ElsaesserIt would be inte
Page 49 and 50:
38 Thomas Elsaesserconditions,” a
Page 51 and 52:
40 Thomas Elsaessermachine of the v
Page 53 and 54:
2Making Sense of Lost HighwayWarren
Page 55 and 56:
44 Warren Bucklandoff-screen sounds
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46 Warren BucklandScene 5, the next
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48 Warren Bucklandview of events. T
Page 61 and 62:
50 Warren Bucklanddream and Renee
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52 Warren Bucklandprotagonist up to
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54 Warren Bucklandpresents a series
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56 Warren Bucklandshe seems to retu
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58 Warren BucklandFred’s optical
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60 Warren Bucklandsame way she did
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3“Twist Blindness”: The Role of
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64 Daniel Barratt(a) comprehension(
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66 Daniel Barrattsay Anna Crowe, pa
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68 Daniel BarrattFinally, two gener
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70 Daniel BarrattFigure 3.2The Sixt
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Page 85 and 86:
74 Daniel Barratt(b) Establishing t
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Page 89 and 90:
78 Daniel BarrattContrary to our in
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80 Daniel Barrattof the mise-en-sc
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82 Daniel Barrattbecause these emot
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84 Daniel Barrattplausible that thi
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86 Daniel BarrattMiller, G. 1956.
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88 Stefano Ghislottiemploy, and the
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90 Stefano Ghislotti(Carrie-Anne Mo
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92 Stefano GhislottiBW1-BW22Motel r
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94 Stefano GhislottiThe following s
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96 Stefano Ghislotticolor sequence
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98 Stefano Ghislotti← ...+ C3(e-2
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100 Stefano GhislottiFilm formMain
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Table 4.1 Mental images, memories a
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104 Stefano Ghislottiand that they
Page 117 and 118:
106 Stefano GhislottiBibliographyBo
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108 Chris DzialoMoreover, it is tem
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110 Chris Dzialorunning time (24 fr
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112 Chris Dzialoshifting network of
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114 Chris DzialoIn this version, th
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116 Chris DzialoIn this version, th
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118 Chris Dzialo[T]he great asymmet
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120 Chris Dzialoinexorably forward,
Page 133 and 134:
122 Chris DzialoShot of a smudge of
Page 135 and 136:
124 Chris DzialoJOELWhat are you do
Page 137 and 138:
126 Chris Dzialounmoored between a
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128 Chris DzialoMamber, S. 2003.
Page 141 and 142:
130 Michael WedelThe Opening Sequen
Page 143 and 144:
132 Michael WedelLola runs in three
Page 145 and 146:
134 Michael Wedelnarratives tend to
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136 Michael WedelThis tension aroun
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138 Michael Wedelin opposition” b
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140 Michael Wedelthe nuns, the tram
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142 Michael Wedellonger’ and the
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144 Michael Wedelwithin the logic o
Page 157 and 158:
146 Michael Wedelspiral as one of t
Page 159 and 160:
148 Michael Wedel10 For Lefebvre’
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150 Michael WedelJenkins, H. 2004.
Page 163 and 164:
152 Allan Cameron and Sean Cubittth
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154 Allan Cameron and Sean Cubittti
Page 167 and 168:
156 Allan Cameron and Sean CubittIn
Page 169 and 170:
158 Allan Cameron and Sean Cubittow
Page 171 and 172:
160 Allan Cameron and Sean Cubittho
Page 173 and 174:
162 Allan Cameron and Sean Cubittsa
Page 175 and 176:
164 Allan Cameron and Sean Cubittmu
Page 177 and 178:
166 Allan Cameron and Sean CubittBi
Page 179 and 180:
168 Gary Bettinsonreclamation of lo
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170 Gary BettinsonAs the film progr
Page 183 and 184:
172 Gary Bettinsonaction in the 204
Page 185 and 186:
174 Gary BettinsonGradually, the pr
Page 187 and 188:
176 Gary Bettinsonand retardation.
Page 189 and 190:
178 Gary Bettinsonpresentation of t
Page 191 and 192:
180 Gary Bettinsonnarration has mis
Page 193 and 194:
182 Gary Bettinsonlevel, however, t
Page 195 and 196:
184 Gary Bettinsonnarrations that h
Page 197 and 198:
186 Gary Bettinsone.g., Chow’s ne
Page 199 and 200:
188 Yunda Eddie FengLou has been ca
Page 201 and 202: 190 Yunda Eddie Fengnarrative progr
Page 203 and 204: 192 Yunda Eddie FengDialogue emanat
Page 205 and 206: 194 Yunda Eddie FengCuriously, desp
Page 207 and 208: 196 Yunda Eddie Fengher dead body).
Page 209 and 210: 198 Yunda Eddie FengSegment 5 (2:05
Page 211 and 212: 200 Yunda Eddie FengXinxia. Even if
Page 213 and 214: 202 Yunda Eddie FengBibliographyBar
Page 215 and 216: 204 Marshall Deutelbaumgenesis, is
Page 217 and 218: 206 Marshall DeutelbaumRecognizing
Page 219 and 220: 208 Marshall Deutelbaumplace in Dec
Page 221 and 222: 210 Marshall Deutelbaumthat he turn
Page 223 and 224: 212 Marshall DeutelbaumCrash and Th
Page 225 and 226: 214 Marshall Deutelbaumher, she mig
Page 227 and 228: 216 Marshall DeutelbaumKwak, H. J.
Page 229 and 230: 218 Eleftheria ThanouliOn first vie
Page 231 and 232: 220 Eleftheria Thanouliactions set
Page 233 and 234: 222 Eleftheria Thanouliin an expres
Page 235 and 236: 224 Eleftheria ThanouliFigure 11.4O
Page 237 and 238: 226 Eleftheria Thanouliscene not on
Page 239 and 240: 228 Eleftheria Thanoulihand, helps
Page 241 and 242: 230 Eleftheria Thanoulisome of the
Page 243 and 244: 232 Eleftheria Thanoulia good knowl
Page 245 and 246: 234 IndexBoccaccio, Giovanni 20book
Page 247 and 248: 236 Indexfoveal vision 63fragmented
Page 249 and 250: 238 IndexMontgomery, Robert 190mora
Page 251: 240 IndexStranger Than Fiction 108S
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Buckland-Warren-Puzzle-Films-Complex-Storytelling-Contemporary-Cinema

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