Tim Cawkwell's Cinema

8.1 to 4   Time manipulated by cross-cutting in Griffith's Intolerance

8.5   The past and the future intertwined in the final shot of Tarkovsky's Mirror 

8.6   Mizoguchi's The Life of Oharu: Oharu sees . . . 

8.7   . . . the face of her past lover in the boddhisattva 

8.8   Ophuls' Letter from an Unknown Woman: "by the time you read this letter I shall be dead" 

8.9   Nolan's Memento: tattoos . . .

8.10   . . . writing on polaroids . . . 

8.11   . . . notes . . . 

8.12   . . . are the only means Leonard has to combat short-term memory loss 

8.13   Ruiz's version of Proust's A la recherche: two Marcels at the end . . .

8.14   . . . and three Marcels in the labyrinth of time 

8.15   Satyajit Ray's Jalsaghar: the music room empty of sound . . .

8.16   . . . and its master deprived of his youth 

8.17 to 20   The finale of Antonioni's L'Eclisse: the city eclipsed of all drama 

8.21   Kieslowski's Blind Chance: in part one Witek catches his train . . .

8.22   . . . in part two he is prevented from catching it . . .

8.23   . . . and in part three he misses it 

8.24   The shot that goes round the world in Inarritu's Babel

10.1   Mendes' Road to Perdition: father-figure Rooney is the last gangster standing . . .

10.2   . . . as son-figure Michael blazes away in the dark

10.3   Zviyagintsev's The Return: father tries to reach out to son . . .

10.4   . . . and fails

10.5    Tatyana sees the drawing of herself . . .

10.6   . . . in Onegin's library (Martha Fiennes's Onegin)

10.7   Michael Graham's 'Soil and Sense' reveals Colpeper's inner world in A Canterbury Tale

10.8   The opening of Hitchcock's Rear Window is a whole narrative in itself 

10.9   Hitchcock's Psycho: Norman's mother's bedroom . . .

10.10  . . . and Norman the child's bedroom . . .

10.11   . . . and Norman's taste in music - uncovered by Lila Crane in the finale of the film  

10.12   Bresson's L'Argent: playing Bach brings a touch of grace to the tyrannical father

10.13   The environmental wasteland mirrors Giuliana's mental state in Antonioni's Red Desert

10.14   Lean's The Passionate Friends: Mary re-enters the room as the sound drops away . . .

10.15   as her jealous husband watches