Not exact matches
The flashback, circular structure of a narrative about a doomed man is an essential feature of film noir (see Sunset Boulevard, Out Of The Past, Detour,
Double Indemnity, etc) and Lost Highway is structured
like a Möbius strip, coiling back on itself in a way that reflects the disturbed
consciousness of the protagonist, condemned to replay the tragic events of his life in an endless loop.
ASK ANY 30 - SOMETHING with African parents what it was
like growing up in the States and you'll likely hear a story of unbelonging, an account not of
double consciousness but triple.
«Ultimately it is my hope,» Berding says, «that the paintings,
like urban landscapes, teem with a sort of
double consciousness, a prevailing sense of both, the future - present and the ever - present past.»