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

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ContentsList of ContributorsviiIntroduction: Puzzle Plots 1Warren Buckland1 The Mind-Game Film 13Thomas Elsaesser2 Making Sense of Lost Highway 42Warren Buckland3 “Twist Blindness”: The Role of Primacy, Priming, Schemas,and Reconstructive Memory in a First-Time Viewing ofThe Sixth Sense 62Daniel Barratt4 Narrative Comprehension Made Difficult: Film Form andMnemonic Devices in Memento 87Stefano Ghislotti5 “Frustrated Time” Narration: The Screenplays of CharlieKaufman 107Chris Dzialo6 Backbeat and Overlap: Time, Place, and CharacterSubjectivity in Run Lola Run 129Michael Wedel
viContents7 Infernal Affairs and the Ethics of Complex Narrative 151Allan Cameron and Sean Cubitt8 Happy Together? Generic Hybridity in 2046 andIn the Mood for Love 167Gary Bettinson9 Revitalizing the Thriller Genre: Lou Ye’s Suzhou Riverand Purple Butterfly 187Yunda Eddie Feng10 The Pragmatic Poetics of Hong Sangsoo’s The Day aPig Fell into a Well 203Marshall Deutelbaum11 Looking for Access in Narrative Complexity. The Newand the Old in Oldboy 217Eleftheria ThanouliIndex 233
Page 2 and 3: Puzzle Films
Page 4 and 5: Puzzle FilmsComplex Storytelling in
Page 8 and 9: List of ContributorsDaniel Barratt
Page 10: List of ContributorsixHollywood (20
Page 13 and 14: 2 Warren BucklandAll poetic arts, a
Page 15 and 16: 4 Warren BucklandIn reading Bordwel
Page 17 and 18: 6 Warren Bucklandfilm again, rather
Page 19 and 20: 8 Warren Bucklandprocess of narrati
Page 21 and 22: 10 Warren BucklandAllan Cameron and
Page 23 and 24: 12 Warren Buckland4 Eleftheria Than
Page 25 and 26: 14 Thomas Elsaessergenre or a sub-g
Page 27 and 28: 16 Thomas Elsaesserdetails that do
Page 29 and 30: 18 Thomas Elsaesserturns out that t
Page 31 and 32: 20 Thomas Elsaessersituations, and
Page 33 and 34: 22 Thomas ElsaesserA countervailing
Page 35 and 36: 24 Thomas Elsaesserwindows, refresh
Page 37 and 38: 26 Thomas ElsaesserYet paranoia, on
Page 39 and 40: 28 Thomas Elsaesserhim. Donnie Dark
Page 41 and 42: 30 Thomas Elsaessersame time as the
Page 43 and 44: 32 Thomas Elsaesserwriters such as
Page 45 and 46: 34 Thomas Elsaesserand syndication
Page 47 and 48: 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
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50 Warren Bucklanddream and Renee
Page 63 and 64:
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
Page 83 and 84:
Page 85 and 86:
74 Daniel Barratt(b) Establishing t
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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
Page 107 and 108:
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,
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122 Chris DzialoShot of a smudge of
Page 135 and 136:
124 Chris DzialoJOELWhat are you do
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126 Chris Dzialounmoored between a
Page 139 and 140:
128 Chris DzialoMamber, S. 2003.
Page 141 and 142:
130 Michael WedelThe Opening Sequen
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132 Michael WedelLola runs in three
Page 145 and 146:
134 Michael Wedelnarratives tend to
Page 147 and 148:
136 Michael WedelThis tension aroun
Page 149 and 150:
138 Michael Wedelin opposition” b
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140 Michael Wedelthe nuns, the tram
Page 153 and 154:
142 Michael Wedellonger’ and the
Page 155 and 156:
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’
Page 161 and 162:
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
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166 Allan Cameron and Sean CubittBi
Page 179 and 180:
168 Gary Bettinsonreclamation of lo
Page 181 and 182:
170 Gary BettinsonAs the film progr
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172 Gary Bettinsonaction in the 204
Page 185 and 186:
174 Gary BettinsonGradually, the pr
Page 187 and 188:
176 Gary Bettinsonand retardation.
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178 Gary Bettinsonpresentation of t
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180 Gary Bettinsonnarration has mis
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182 Gary Bettinsonlevel, however, t
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184 Gary Bettinsonnarrations that h
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186 Gary Bettinsone.g., Chow’s ne
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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
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206 Marshall DeutelbaumRecognizing
Page 219 and 220:
208 Marshall Deutelbaumplace in Dec
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210 Marshall Deutelbaumthat he turn
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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
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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
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232 Eleftheria Thanoulia good knowl
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234 IndexBoccaccio, Giovanni 20book
Page 247 and 248:
236 Indexfoveal vision 63fragmented
Page 249 and 250:
238 IndexMontgomery, Robert 190mora
Page 251 and 252:
240 IndexStranger Than Fiction 108S
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