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Do not use an Oxford Academic personal account. When on the institution site, please use the credentials provided by your institution.Select your institution from the list provided, which will take you to your institution's website to sign in.Click Sign in through your institution.Shibboleth / Open Athens technology is used to provide single sign-on between your institution’s website and Oxford Academic. This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution. Typically, access is provided across an institutional network to a range of IP addresses. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. Despite their initial acknowledgement of the recent transformation in national identity caused by globalisation, the two films ultimately reterritorialise the myriad possibilities for change opened up by the double time of the nation with one unifying image of national identity. Their multiple narratives demonstrate the time lag during which an ‘old’ version of national identity is replaced by a ‘new’ one. Both films play with the labyrinth, momentarily allowing it to appear and thereby acknowledging a moment of national transformation. On closer analysis, however, it is apparent that these time-images ‘caught in the act’ of becoming movement-images bear testament to the reterritorialising power of the movement-image. At first glance, both films could be said to express the labyrinthine conception of time characteristic of the time-image. Sliding Doors (1997) and Run Lola Run (1998) were two of the most formally distinctive narratives to emerge in European cinema in the late 1990s.