Bracket syntagma

VA series of very brief scenes representing occurrences that the film gives as typical samples of a same order of reality, without in any way chronologically locating them in relation to each other.' The syntagma functions like a parenthesis (hence its title) which establishes a concept: The first erotic images of Une femme mariƩe (Jean-Luc Godard, 1964) sketch a global picture of "modem love" through variations and partial repetitions'; vin The Scarlet Empress (Joseph von Sternberg, 1935), the sequence that constructs the terrifying yet fascinating image of Tzarist Russia that the future empress imagines as a little girl (prisoners tied to giant bell clappers, the executioner with his axe, and so on).'

Syntagmas with more than one shot in a chronological sequence

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