Abstract
Excess is endemic to film narrative. Despite the frame's symbolic effort to contain the film inside discernible boundaries, any film is fraught with aspects of simultaneity, multiplicity, and materiality that define its textual excess. The first two concepts, associated with Stephen Heath's analysis of Touch of Evil, assert that the screen always shows more action than the narrative can contain. In the novel, writes Heath,
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.