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How does Nicholas Roeg’s 1973 film Don’t Look Now manipulate perspective…

- - - - Film in a visual mode delivers and rediscovers for us events we tend to miss and their potential meanings OR familiar phenomenons through a contemplative perspective
      - The film yields us to perceptual access patterns of sensible phenomena. A) These patterns bear various types of natural significance and B) a single, ordinary observer rarely has access to every element of the significant whole.
      - Presents both aspects above in an analysed and survey able manner > continuous and conscious apprehension > a total pattern of expressive behavior includes a finely nuanced physical reaction almost impossible to perceive
        
        Long temporal intervals and scenes in widely scattered locales > single observers will not be in position to follow the unfolding of patterns
        
        Reassemble a unified pattern to piece together the film
        
        Our capacity derives from the clarity and flexibility of photographic and editing techniques to obtain a visual record of the fictional course of events > Panofsky refers to this as the capacity to 'dynamize space' and 'spatialize time' and he regards it as the unique and essential capacity of film
        
        Film could derive, in essence, from our giving form to the
        natural significance of the objects and events themselves.