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| | plato_film.html |
 | | Likewise, in the case of the projection of a film, the director/producer is one who will have control over the shaping of the myth, and once shot as wished, the film will have a power of stability not guaranteed by the stage play. |
 | | In the film, Jacob's Ladder, for example, one is confronted with a flux of seemingly disconnected images, which only make sense to the viewer after having seen the end of the film. |
 | | Throughout the film, at least up until the end, the viewer attempts over and over again to formulate a sensible, coherent account of the images portrayed, assuming of course one views it from the upper portion of Plato's divided line. |
| www.mtsu.edu /~jpurcell/Cinema/plato_film.html (3203 words) |
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