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Thanks, Doug. On this occasion, I didn't feel I was forcing any lines in order to get to 14, though I was a bit uncertain whether I had broken line 13 on the most appropriate word. The direction, acting, and diction of the film far surpassed my expectations, largely based on overt evidence of attention to a variety of essential materials which render and preserve moving image/sound. I knew it wasn't going to be precisely what P. Adams Sitney has termed the "structural film" (examples of which include films made by Canadians Michael Snow and Joyce Wieland ), but I might call it a post post structural narrative. Barry On Thu, 10 Mar 2011 08:49:42 -0700, Douglas Barbour <[log in to unmask]> wrote: >How you catch the catchiest phrasings, Barry. > >However you got to that final cutting couplet, it sure works. > >Doug >On 2011-03-10, at 5:48 AM, Barry Alpert wrote: > >> DECHAINEES > >Douglas Barbour >[log in to unmask] > >http://www.ualberta.ca/~dbarbour/ >http://eclecticruckus.wordpress.com/ > >Latest books: >Continuations (with Sheila E Murphy) >http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664 >Wednesdays' >http://abovegroundpress.blogspot.com/2008/03/new-from-aboveground-press_10.html > >Just a late night pilgrim >Looking for redemption in the underground. >Lord, won't you help a late night pilgrim >When the morning comes around. > > Tift Merritt