It therefore appears that the practice might problematise the classical pairing of mimesis (showing) and diegesis (telling).
The impossibility of the opera film might ultimately lie in the impossibility of constructing its diegesis, in the very impossibility of filmic representation.
In addition, film is usually treated in terms of notions of diegesis/narrative.
Faced with an environment rather than a contained image, the viewer experiences a continuous diegesis not possible in other moving-imagebased artforms.
A priori, the terms 'diegetic music' and 'non-diegetic music' situate film music as measured against the 'diegesis'.
My circling around the subject betrays a reversible relation between sound and image: that music can be variably repositioned; that it can confuse boundaries of diegesis, authorship and subjectivity.
But if other films tend to use this confusion to propel their diegesis, this film cuts short the primary drama of misrecognition soon after it begins.
His monsters appear slowly, at the beginning as scratches on the film stock, someplace in between the diegesis and the actual world.
