utopian visions of Marxism had, for many, lost their appeal. 6 In the visual arts, this change resulted in the emergence of two (very different) aesthetic preoccupations. On one side were Dada, surrealism, and pop art, movements that continued to respond
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deadpan pop-art comedy that functions (á la Bresson and Ozu) as a piece of both social satire and film criticism. Our understanding of and engagement with the characters and action in Stranger than Paradise is, despite its etiolated dynamics, no less