@article{sah 6110, author = {Barnaby Taylor}, title = {DOWNPOUR : FRAMES, FEELINGS AND FILE TYPES}, volume = {5}, year = {2020}, url = {https://www.sahjournal.com/article/id/6110/}, issue = {2}, doi = {10.18193/sah.v5i2.185}, abstract = {<p>The Form of the Work<strong></strong></p><p>The ontological fact that actions move within a dark and shifting circle of intention and consequences, that their limits are our own, that the individual significance of an act (like that of a word) arises in its being this one rather than every other that might have been said or done here and now, that their fate (like the fate of words) is to be taken out of our control - this is the natural vision of film.</p><strong>Stanley Cavell</strong> <a title="" href="file:///C:/Users/koukera/Desktop/vol_5_issue_2_december%202019/submissions/02_print_ready/articles/07Barnaby_Taylor/taylor_v5i2_2019.docx#_ftn1"><sup><sup>[1]</sup></sup></a><div><br clear="all" /><hr align="left" size="1" width="33%" /><div><p><a title="" href="file:///C:/Users/koukera/Desktop/vol_5_issue_2_december%202019/submissions/02_print_ready/articles/07Barnaby_Taylor/taylor_v5i2_2019.docx#_ftnref1"><sup><sup>[1]</sup></sup></a> Stanley Cavell, <em>The World Viewed</em>, (Harvard University Press, 1971, 1974, 1979), p. 153</p></div></div>}, month = {7}, pages = {115-174}, issn = {2009-8278}, publisher={SAHkartell}, journal = {Studies in Arts and Humanities} }