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The authoress tries to identify the meanings of 'Don't Look Now' that are implied in Daphne du Maurier's short story on which Roeg's film is based. In her view Roeg enters into a discussion on the problem of seeing (looking/watching) and asks about the identity of the hero who is in the ring of death. The ring is delineated by a number of elements that appear in view of the main hero. What manifests in the ring is what materializes in the picture. She uses Deleuze's concept of crystal-image and the categories of actual and virtual image, which she thinks integrate in the film the past and the present. The reference to Bergson's paramnesia (illusion of déja-vu or already having been there) serves to accentuate the contemporaneous existence of past and present images.
Nicolas Roeg's films are characterized by special formal sophistication, especially on the level of editing techniques. The author examines the opening sequence of one of the director's most known and highly valued films. 'Don't Look Now' contains not only visually impressive solutions but also an excellent connection of editing concepts with the film's semantic sphere. Although the final meaning of 'Don't Look Now' is only revealed when the film is over, we come to realize that as a matter of fact we have had this elusive 'premonition of meaning' since the film's initial sequence. Interestingly, Roeg managed to build the key relations by means of purely cinematic means - first of all by means of well thought-out editing heralding an encounter of the mystery that may be only partially discerned.
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