That's all very well, Nicholas, but my question remains unanswered:
how can we theorize these moments?
Henry
> Another related assumption: "system"
>
>
> On 3 Apr 2007, at 20:24, Henry Taylor wrote:
>
>> This list of memorable cinematic moments could go on forever. But
>> we'd be staying within what Saussure called 'parole': the
>> potentially infinite number of utterances which don't reveal the
>> system. How could we get to the 'langue' of this, the paradigm,
>> the 'grammar' of these moments: what are they? Plot points,
>> reversals, revelations, recognitions, inciting moments, hooks, pay-
>> offs, excess, parametric.... ?
>>
>> Any ideas how we could theorize these phenomena?
>>
>> H
>>
>>
>>
>>
>>
>>> a personal favourite:
>>>
>>> what's-his-name cramming steve buscemi's remains (more precisely,
>>> foot) into
>>> a wood-grinder with the help of a log, while blood splashes all
>>> over the
>>> snowy forest floor as frances mcdormand approaches through the
>>> trees, at
>>> first not realizing what the sound is, towards the end of Fargo.
>>>
>>>
>>>
>>>
>>> anja
>>>
>>
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