The Cinema of Disorientation: Inviting Confusions, by Dominic Lash

The feeling of being utterly lost that is cultivated by David Lynch’s Inland Empire (2006), one a handful films central to Dominic Lash’s Cinema Disorientation: Inviting Confusions, might be the paradigmatic effect body work Lash refers as “cinema disorientation”. These insistently problematise viewer’s relation unfolding diegesis, leaving them without stability interpretive points reference audiences have come expect and rely upon, or shifting these soon they been established. In Disorientation, takes case studies, using their disorientations flesh out humble but profoundly robust methodology filmic analysis centered around his idea orientation means which film construes it. As he puts it, “[u]nderstanding always operative under negotiation, continually developing; examining disorientating can help bring this process clearly into view”