as a child, I understood as a child, I thought as a child ... "). Professor Terrie Waddell added that the poem established "centrality of childhood" as a key theme, noting that the children can see angels and accept them without question, tying them in with the phenomenon of imaginary friends. The film has also been read as a call for German reunification, which followed in 1990. Essayists David Caldwell and Paul Rea saw it as presenting a series of two opposites: East and West, angel and human, male and female. Wenders' angels are not bound by the Wall, reflecting East and West Berlin's shared space, though East Berlin remains primarily black and white. Scholar Martin Jesinghausen believed the film presumed reunification would never happen, and contemplated its statements on divides, including territorial and "higher" divides, "physicality and spirituality, art and reality, black and white and colour". Researcher Helen Stoddart, in discussing the depiction of the circus and trapeze artist Marion in particular, submitted that Marion is the classic circus character, creating an image of danger and then potential. Stoddart argued that Homer and Marion may find the future in what remains of history found in Berlin. Stoddart considered the circular nature of the story, including a parallel between the angel who cannot see the physical (Damiel), and the faux angel (Marion) who can "see the faces". Marion also observes that all directions lead to the Wall, and the final French dialogue "We have embarked" while the screen states "To be continued", suggests "final movement to a new beginning". Writing in the journal Film and Philosophy, Nathan Wolfson cites Roland Barthes's work—especially S/Z—as a model to argue that "This 'angelic' portion of Wings of Desire deliberately invokes in the viewer a set of specific responses. These responses provide the foundation for the transformation that Damiel and Marion participate in. The film prepares the viewer for an analogous transformation, and invites the viewer to participate in this process, through an exploration of authorship and agency." Style British Film Institute writer Leigh Singer assessed the cinematic style as "bold" and artistic in its use of colour, "existential voiceover" and "languorous pacing". Singer also commented on the use of symbolism and the combinations of diverse pieces of culture, from the poetry of Rainer Maria Rilke to the music of Nick Cave. In Singer's estimation, the cinematography is able to communicate the angels' "invisible