Abstract
Ninagawa Mika’s works are highly referential, each endeavor rife with intertextuality. This video essay deconstructs the opening montage of her 2012 film Helter Skelter into its constituent parts through the organization of visual motifs to visualize Ninagawa’s own relationship to the camera gaze.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have