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

Recommendations

Info

“Twist Blindness” 71Figure 3.4The Sixth SenseFigure 3.5The Sixth Sense(a) Establishing Malcolm’s apparent status as a living personHow does Shyamalan establish Malcolm’s apparent status as a living person?Why do we not entertain the proposition that “Malcolm might be dead?”Given the unexpected and explosive nature of the gun-shot in the introductoryscene (scene 1), it is reasonable to assume that the first-time viewerexperiences a relatively strong startle response, especially in comparison with
72 Daniel BarrattFigure 3.6The Sixth SenseFigure 3.7The Sixth Sensea subsequent viewing of the film on television (Simons 1996). This startleresponse is possibly compounded by fear for Malcolm’s well-being and shockat Gray’s subsequent suicide. The subsequent timing is crucial. Within only15 seconds of the first gun-shot, the scene fades to black (cue scene 2). Andwithin only 27 seconds, the film flashes up the inter-titles “THE NEXT FALL
Page 2 and 3:
Puzzle Films
Page 4 and 5:
Puzzle FilmsComplex Storytelling in
Page 6 and 7:
ContentsList of ContributorsviiIntr
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
Page 57 and 58: 46 Warren BucklandScene 5, the next
Page 59 and 60: 48 Warren Bucklandview of events. T
Page 61 and 62: 50 Warren Bucklanddream and Renee
Page 63 and 64: 52 Warren Bucklandprotagonist up to
Page 65 and 66: 54 Warren Bucklandpresents a series
Page 67 and 68: 56 Warren Bucklandshe seems to retu
Page 69 and 70: 58 Warren BucklandFred’s optical
Page 71 and 72: 60 Warren Bucklandsame way she did
Page 73 and 74: 3“Twist Blindness”: The Role of
Page 75 and 76: 64 Daniel Barratt(a) comprehension(
Page 77 and 78: 66 Daniel Barrattsay Anna Crowe, pa
Page 79 and 80: 68 Daniel BarrattFinally, two gener
Page 81: 70 Daniel BarrattFigure 3.2The Sixt
Page 85 and 86: 74 Daniel Barratt(b) Establishing t
Page 87 and 88: 76 Daniel BarrattFigure 3.8The Sixt
Page 89 and 90: 78 Daniel BarrattContrary to our in
Page 91 and 92: 80 Daniel Barrattof the mise-en-sc
Page 93 and 94: 82 Daniel Barrattbecause these emot
Page 95 and 96: 84 Daniel Barrattplausible that thi
Page 97 and 98: 86 Daniel BarrattMiller, G. 1956.
Page 99 and 100: 88 Stefano Ghislottiemploy, and the
Page 101 and 102: 90 Stefano Ghislotti(Carrie-Anne Mo
Page 103 and 104: 92 Stefano GhislottiBW1-BW22Motel r
Page 105 and 106: 94 Stefano GhislottiThe following s
Page 107 and 108: 96 Stefano Ghislotticolor sequence
Page 109 and 110: 98 Stefano Ghislotti← ...+ C3(e-2
Page 111 and 112: 100 Stefano GhislottiFilm formMain
Page 113 and 114: Table 4.1 Mental images, memories a
Page 115 and 116: 104 Stefano Ghislottiand that they
Page 117 and 118: 106 Stefano GhislottiBibliographyBo
Page 119 and 120: 108 Chris DzialoMoreover, it is tem
Page 121 and 122: 110 Chris Dzialorunning time (24 fr
Page 123 and 124: 112 Chris Dzialoshifting network of
Page 125 and 126: 114 Chris DzialoIn this version, th
Page 127 and 128: 116 Chris DzialoIn this version, th
Page 129 and 130: 118 Chris Dzialo[T]he great asymmet
Page 131 and 132: 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
Page 139 and 140:
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
Page 147 and 148:
136 Michael WedelThis tension aroun
Page 149 and 150:
138 Michael Wedelin opposition” b
Page 151 and 152:
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
Page 165 and 166:
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
Page 181 and 182:
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 and 252:
240 IndexStranger Than Fiction 108S
show all

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

Create successful ePaper yourself

Delete template?

Save as template?