Since the mid-1990s, a number of films from international filmmakers
have experimented with increasingly complicated narrative
strategies-including such hits as Run, Lola, Run, 21 Grams, and Memento.
This book sets those films and others in context with earlier works that
tried new narrative approaches, including Stage Fright and Hiroshima,
Mon Amour, to show how they reveal the limitations of most of our usual
tools for analysing film. In light of that, Steffen Hven argues for the
deployment of an 'embodied' reconfiguration of the cinematic experience,
one that allows us to rethink such core constituents of narrative
understanding as cognition, emotion, and affect.