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Both Canadian legal traditions coexist on a daily basis in the new context of globalization in private commercial transactions. It has become routine for lawyers to juggle with concepts such as common law trust and civil law hypothecs in the same contract. Moreover, each system inspires the other to a certain extent. Therefore, it is a necessity and not a luxury for Canadian lawyers to master both legal traditions.
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460.More information
This article situates the definition of the special effect in a broader history of cinema (Christian Metz's notion of the trick effect) and in the history of art (debates around painting and sculpture in the modern era). Martin Arnold's “de-animated” work, based on American cartoons, reworks the paradigm of seeing and touching and prompts us to think, no longer about a dispute between the arts (sculpture, operating per via di levare, opposed to painting, which operates per via di porre), but about “adjusting perception” (Metz). This conflict between the senses, which takes the form of a plastic proposition in Arnold's films, becomes the site of an interrogation of the sources of the visible: its physiological origins and its psychic manifestations. The use of colour—the black background from which are taken coloured fragments of broken-down icons—produces, in league with abstract art, a “dynamite of the unconscious” which brings out a kind of incandescence of seeing and a dread of the gaze.