Contingency, Causality, Complexity
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A strong rival to naming the phenomenon in question ‘mind-game film’ is the concept of ‘complexity narratives,’ which enjoys wide support and covers much the same corpus of films. Impersonal or abstract forces, such as accident, coincidence, contingency, or other ‘acts of God,’ also have their place in classical cinema, but mostly in order to be retroactively recovered and enlisted in the final plot resolution, as ‘causes’ that can be lined up in a plausibly linear sequence, once they have been matched with the effects they produce. Movement ensures becoming, process and passage in the medium of variable temporalities; montage, understood as renewing circuits and relays, allows for different form of causality, connection, contingency, as well as assemblages; while intuitive understanding reinstates the dignity of the everyday, the resistance of the material, the intimacy of the sensuous, but also gives the fleeting and ephemeral ‘evidence and presence.’.