Discourse and Figure: The Resistance of/to Cinema
This chapter is concerned with the visual art of cinema in relation to alterity and postmodernism. It examines the relation of narrative space to narrative time in cinema and argues that there is a certain tendency in contemporary cinema to resist the internal implications of cinema itself: there is a resistance to cinematic culture within cinema. It first considers the explicit postmodernism of contemporary cinema, and concentrates on the particular example of Wim Wenders's Paris, Texas. It then turns to the (non)genre of film noir to explore the resistance of cinema to a conservative ‘containment’, taking the example of Billy Wilder's Double Indemnity.
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