... of Nicolas Poussin’s Midas and Dionysos. Spread like wallpaper across an entire back wall of Petra’s bedroom, the frameless tableau peers out from behind a clutter of furniture and objects crowded between the camera and the copy, in shots that use lighting, composition and actors’ bodies to draw...

... of alternative means for eliciting what Williams calls the ‘genius” of a text must be questioned as a strategy of exclusion. The difference consists of what Derrida calls the difference between Dionysos and Apollo ,21 between force and structure, between the text that plays and the text that obeys...