By James Swallow
Blood Angel Sergeant Rafen is at the verge of loss of life, torn aside by way of a raging torrent inside of him – the uncooked energy of the blood of Sanguinius. His in basic terms wish of survival lies in the bankruptcy sarcophagi, the place his actual wounds might heal. yet one other conflict totally is being fought – inside of his brain, Rafen needs to struggle for his very soul. within the unusual panorama of his unconscious, he needs to conquer shadowy enemies and delve deep into his energy and braveness if he's to ever go back to the bankruptcy. There he'll come nose to nose with the prior of the Blood Angels and the darkish background that shook the universe ten millennia earlier than.
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This, he sees, as Godard’s ‘counter-cinema’. 57 This statement also serves to reassert in emphatic terms the dichotomy that Wollen is keen to highlight: Godard versus the Hollywood cinema. It is not possible or necessary to address each of Wollen’s distinctions within the context of our discussion here but, keeping in mind my move towards a study of alternative worlds in films, we are bound to find ourselves drawn to Wollen’s concept of single diegesis versus multiple diegesis, and the ways in which he attributes one category to Hollywood cinema and one against it.
47. 33. ’ p. 23. 34. Ibid. p. 25. 35. Ibid. p. 26. 36. Ibid. p. 19. 37. Ibid. p. 17. 38. Ibid. p. 20. 39. Ibid. p. 19. 40. Ibid. p. 20. 41. Ibid. pp. 35–36 The use of ‘barrier’ here relates back to Cavell’s earlier terminology, rather than being a term offered in Perkins’ argument specifically. 42. Perkins Film as Film p. 63. 43. Ibid. 44. Ibid. p. 70. 45. Ibid. p. 122. 46. Ibid. pp. 122–123. 38 | alternative worlds in hollywood cinema 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58.
Imagined Worlds | 51 Spellbound The Persistence of Memory Thus, although it might be argued that the camera quite poorly reproduces the nature and quality of human sight through the use of drifting, fluid tracking shots and a series of zooms, this point-of-view style resists become disconcerting as it coheres with the odd, near-hallucinogenic composition of the imagined world as Ballantine remembers it (and as depicted in Dalí’s designs). Thus, as Hitchcock’s camera movement suggests mobility distinct from the restrictions of ordinary physical laws, such an occurrence does not present a challenge to our sense of coherence and conceivability as we watch the surrealistic dream images.