Rush Post #8

Sans Soleil was a bizarre film to watch. It was structured very much like free-formed letter, one that a person allowed their stream of conscious to write. Each section of the film was vaguely related to each other, not always in the same way. Sometimes not at all, it was like the brain skipped to another thought taken there by the flow of the mind. That is why I think the images of water were so prevalent throughout most of the film. They were never really talked about or mentioned, water and wave, but they seemed to play a rather important part in portraying memory. The film-maker always seems to present the audience with images of some sort of moving water when introducing a new montage (the museum, the festivals, etc.). It is as if those moments are stand in for the brain jumping subject or the change in the stream of consciousness. Channels, rivers, and coastlines are the most common water features shown. The water is always moving in some manner, in a way simulating the proverbial turning of the mind's gears. There are a few scenes with still water, those moments always feel like a lull in the film's momentum... like it is taking longer to think. There are about 26 or 27 instances of water imagery.

Rush Post #7

For my final project, I am going to write a new analytical essay on Exit Through the Gift Shop. It will most likely look at the diegetic space that the film lays out for itself as well as the perspective shifts that occur, including the fairly (I feel) major one that occurs late in the film. Those discussions may take me in to talking about the other two concepts but I think I am going to try and focus on diegesis and perspective.