Word: flashback
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...hole in the ceiling leads to a flashback of her whole horrible life--from when she first ran off with her husband, through when her love attempted to make love to her while her husband was sleeping right next to her, to when she left them both at the bottom of the hole...
Whether or not film makers want to tell a story, they no longer need adhere to the convention that a movie should have a beginning, middle and end. Chronological sequence is not so much a necessity as a luxury. The slow, logical flashback has given way to the abrupt shift in scene. Time can be jumbled on the screen-its foreground and background as mixed as they are in the human mind. Plot can diminish in a forest of effects and accidents; motivations can be done away with, loose ends ignored, as the audience, in effect, is invited to become...
...classic Stevensonian chemical transformation and becomes hideous Monsieur Opale, a sadistic savage who cannot resist kicking the crutches out from under a cripple, or wrenching the baby from any passing mother. Predictably, Opale's appearances become progressively vicious during the first two-thirds of the film; but a flashback reveals the tragic truth of Cordelier's folly; when he first became M. Opale, he felt liberated, physically light as air, uninhibited for the first time. Barrault, a brilliant mimist (Les Enfants du Paradis) plays Opale-Hyde as if he were doing a Chaplin imitation. Only in successive transformations does Opale...
Abruptly, Accident whirrs into a lengthy flashback, detailing the events that led to the tragedy. Bogarde is an aging womanizer who has backed comfortably into pipe-puffing middle-age. Outwardly content, he is actually bored with his life and his pregnant wife, and yearns to recapture his vanished youth in an affair with Sassard, an Austrian princess. She, however, has two far more successful suitors. The first, an agreeable adolescent aristocrat (York), becomes her fiance. The other, a university tutor (Stanley Baker) who seems to have a postgraduate degree in seduction, becomes her lover...
...every film he could, and in 1909 he established and managed the first movie theater in Dublin. In composing Ulysses, the enormous, erudite and scandalous masterpiece that is one of the few great novels of the century, he consciously employed the techniques of cinema: long shot, closeup, flashback, dissolve, montage. The cinematic character of the novel was excitedly recognized by moviemakers, and down the years some of the best-among them Sergei Eisenstein and John Huston-have unsuccessfully undertaken the prodigious labor of getting Ulysses off the page and onto the screen...