How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?

How have filmmakers and artists responded to breaking the conventions of

narrative and psychological identification normalized by mainstream cinema and TV?

Do you think these modes of alienation / distantiation (e.g. Brecht’s idea of

Verfremdungseffekt – “making strange”) still have a currency today?