Apart from work in deconstruction, there is also that filmwork which is interpreted as deconstruction, works which have as their basic project an overhauling (not a criticising and not a smashing) of narrative, such as the pseudo-narratives of Robbe-Grillet's appalling films, or Straub's post- (and sometimes pre-) Brechtian exercises in distanciation and reflection. (Even here the Brecht of the theatre is mistaken for the Brechtian theoriser.)  Other examples are Dreyer's purist set pieces of dramatics, straightforward identificatory narratives, the identification merely shifted from the psychological/emotional to the psychological/rationalistic. The identification into the narrative is through the thoughts, the ideas about the actions, the decisions, the ratio, instead of the melodramatic unthought motivations of characters propelled by unthought 'fear', 'desire', etc. as in most other films. A study is urgently needed on the theme of narrative versus non-narrative form and on the inadequacy of the mechanistic deconstruction approach which ends up illustrating rather than being, which ends up static, time denying, posited as exemplary rather than relative, contradictory, motored into filmic, durational transformation through dialectic procedures.
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