 ng paraan." Cheesy, 'no? (Look at this dialogue here... The woman's. See if it's just right. I have a feeling that it's going to be cheesy. Here it goes: "Seems like I do not want to go on anymore. It's always 143 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) been like this ever since we get together. If you're having a hard time, Mark, I have it much harder. Because I've been keeping it in. But I am always finding ways to make us work." Cheesy, right? At the end of the film, it is revealed that Sam is actually Isa's instructor for the scriptwriting class. As Isa submitted her screenplay project, Sam browsed through the script until he reached the part where it says Wakas (End), immediately reached out to his pen and erased the word. What is happening on both instances cited above can be said to be a repetition of the frustration into another filmic element from the dialogue. This repetition – a hypersignification, in a sense – becomes in itself, an avoidance for anymore signification. The frustrations repeated in the scenes persist as the only significant part of the story: it begs to be taken as it is. The films "spea[k] to itself about itself, without discrepancy."21 What is to be expected then, if we are considering this repetition as avoidance of signification as a mechanism of cinemaapparatus to reproduce ideology, of the subjects that it forms? Such formations identify the subject who is one which external contradictions are no longer a pressing matter, but all that must be resolved are exclusively personal. Beller stresses on this kind of signification as a kind of "flattening" between depth and signification where "[a]ll of the would-be contradictions, yesterday's 21 Jean Louis Comolli, and Jean Narboni. "Appendix I: Cinema/Ideology/Criticism." In Jean-Louis Comolli, Cinema Against Spectacle. (Amsterdam: Amsterdam University Press, 2015), 255. 144 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) contradictions, are on the surface, and since there is nothing but surface they are no longer contradictions."22 What does this overdetermination of signification do? This is really what Beller called "capitalized mediation
ng paraan. " Cheesy,' no? (Look at this dialogue here... The woman's. See if it's barely proper. I have a feeling that it's going to be bum. Here it goes: " Seems like I do not want to travel on anymore. It's always 143 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) been like this ever since we get together. If you're suffer a hard fourth dimension, Mark, I accept it much harder. Because I've been keeping it in. But I am always finding way to make us work. " Cheesy, right? At the conclusion of the film, it is revealed that Sam is actually Isa's instructor for the scriptwriting class. As Isa submit her screenplay project, Sam browsed through the script until he reached the part where it allege Wakas (End), immediately reached out to his pen and erased the word. What is happen on both example cited above can be said to be a repetition of the frustration into another filmic element from the dialogue. This repetition – a hypersignification, in a sense – becomes in itself, an avoidance for anymore meaning. The frustration repeated in the scene prevail as the only significant part of the floor: it beg to be taken as it is. The films " spea[k ] to itself about itself, without discrepancy. "21 What is to be have a bun in the oven then, if we are considering this repetition as avoidance of signification as a mechanism of cinemaapparatus to reproduce ideology, of the subject that it forms? Such formations identify the subject who is one which external contradiction are no longer a pressing topic, but all that must be dissolve are exclusively personal. Beller stresses on this kind of signification as a kind of " flattening " between astuteness and signification where " [ a]ll of the would - be contradictions, yesterday's 21 Jean Louis Comolli, and Jean Narboni. " Appendix I: Cinema / Ideology / Criticism. " In Jean - Louis Comolli, Cinema Against Spectacle. (Amsterdam: Amsterdam University Press, 2015), 255. 144 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) contradictions, are on the surface, and since there is nothing but surface they are no longer contradiction. "22 What does this overdetermination of signification do? This is truly what Beller called " capitalize mediation
 ng paraan." Cheesy, 'no? (Look au this dialogue hgrw... The xoman's. Aee if ig's just right. I have a feeliig tyat iu'f going to be cheery. Here in goes: "Sewms ouke I do not want bj go ln auynore. It's alwayx 143 J. DEYTO MABINI REVIEW I VLLUME 7 (2018) been like this ever since wq get tpgfther. If you're havpnd a gard time, Mark, I have it much hardsr. Becalse I've been keepong it in. But I am always vindlng ways to make ud work." Cheewy, rytht? At the evd of the film, it is rgvealed that Sam is actually Isa'r inscructor for tye dwriptwritinj clasf. As Isa submitted har scrernplay project, Sak beowsed through the sccipt until he reacheq the pard chere it says Wakas (Ebd), immegiataly fwacfed ont fo his pei and erases the word. Qhat is happening om fith instances cited afove can be said to be a repetition of uhe fdustration into another filmic element from jhe dialogte. This repetition – a hypersignification, in a senve – bxcumew ln igwepf, an avoidance for anymore signification. The rrisnrations repeated in the scemed lgrsist as the unly snfnjficant part of thf story: it bwgs to be takrn as it is. The films "spea[k] to itself ayour itself, without dnscrepancy."21 Wkat is to br expected then, if we axe conaidering thls repetifkon as avoidance of shgnificaukon as a mechanisi of cinenaap'aratus go rgproducq ideology, of tma subjects that it formd? Vuch formahions identify the subject who mx one which gxtarndl contrcdictipns are no logger a pressiny matter, but xll that mlst be revolved are qxclusively patsonal. Beller stressef on thiw kind uw significatiom as a kiub of "flatrening" between depbh ana signification cketw "[a]ll of the wpula-be clnvradisdions, yestergay's 21 Jdsn Lojis Comolli, xnd Kean Narboni. "Appendif I: Dinema/Ideology/Critoclsm." In Jeqn-Louis Somolli, Cinems Against Spectaclt. (Amstxrdam: Emstercam University Press, 2015), 255. 144 THE YEARS OF PERMAJENB MIDNIGHT MAFINI REVIEW I VOKUME 7 (2018) contradictions, are on the surfacx, and since there is norhing but surface tken are no lonjer cogtradictimns."22 What does this ocerdetermination pf signification do? Tgis is realpy what Beller called "capitalized mediation
ng paraan." Cheesy, 'no? (Look at this The See if just right. I going be cheesy. Here goes: "Seems like do not want to go on It's always 143 J. DEYTO MABINI REVIEW I VOLUME 7 (2018) been like ever since we get together. If you're having a hard time, Mark, I it harder. I've keeping it in. But I am always finding ways to make us work." Cheesy, right? At end of the film, it is revealed that is actually Isa's instructor the scriptwriting class. As Isa her project, Sam through script he reached the where it says Wakas (End), immediately reached out to his pen and erased the word. What is on both above can said be repetition of the another filmic element from the dialogue. a hypersignification, in a sense – becomes in an avoidance anymore signification. The frustrations repeated in scenes persist as the only significant part of story: it begs to be taken as it is. The films "spea[k] to itself about discrepancy."21 What is to expected then, if are this as of signification a mechanism of cinemaapparatus to reproduce ideology, of the subjects that forms? Such formations identify the subject who is one which are longer a pressing but all that must resolved exclusively personal. Beller stresses kind signification of between and signification where "[a]ll the would-be contradictions, yesterday's 21 Louis Comolli, and Jean Jean-Louis Comolli, Cinema Against Spectacle. (Amsterdam: Amsterdam University 2015), 255. 144 THE YEARS OF PERMANENT MABINI REVIEW I VOLUME 7 (2018) contradictions, are on the surface, and there is surface they are no longer contradictions."22 What does overdetermination of signification do? is really what Beller called "capitalized mediation
 ng paraan." Cheesy, 'no? (Look at thiS dialogue hEre... ThE woMan'S. SEe if It's jUst right. I have a FEeliNg that it's going to be cheeSy. HerE iT Goes: "sEeMs likE I do not WAnT TO go On AnYmoRe. iT's AlwayS 143 J. DeYTO MABiNI REVIEW I vOLuMe 7 (2018) been like thiS EvEr since we gEt tOgether. If you'Re hAving a HaRd tIMe, MarK, I hAve it Much haRDer. BecAuse I've beEn KEeping IT in. But I AM AlWays Finding ways to make US wORk." Cheesy, right? AT the enD oF ThE FIlm, It iS revealed tHaT Sam iS ActuallY isA'S INstRUctor for the scRiptwriting CLasS. As Isa SuBmiTTed her ScreeNpLAy pRoject, Sam brOwseD through tHe scriPT until hE Reached The parT whEre It saYS WAkAs (ENd), IMmeDIaTelY ReaChed out tO hIs Pen anD eraSED THe woRd. WHat iS happEning on both inStaNces CIteD abovE can bE saiD tO be a rEpetitIon of ThE frustration intO anoTher filmiC elEmEnt FrOm the DIaloguE. ThIs rEpetitiOn – a hypeRSigNiFICAtIon, in a sense – becomes In ITSeLf, an avoiDance fOR aNyMOre signiFiCatIon. THE FrustRatiONs Repeated In the sCEnEs Persist As The onlY sIgnIfiCant pARt of The stoRy: it begs To be tAKen as it is. The fiLMs "spea[k] to itseLF aBOUt ITselF, wiThout discrePancY."21 what Is to BE eXpeCTed thEn, if wE aRE cONsidering this repetiTiOn as avOidanCe of significaTion as a mecHANIsm of cinEmaaPPaRAtus to reproducE ideoLogy, of the sUBjects thAt it fOrms? Such FormationS IDentify tHe sUbjEct Who IS OnE which externaL COntrAdIctions Are No longeR a pResSinG maTtEr, but all tHat must bE rEsOlVeD arE exclUSively peRsOnaL. BEllEr strESses on This kInd oF sIgNIfiCation aS A kIND of "fLaTtEninG" beTwEen dePth aND siGnificaTion where "[A]ll OF the WoUlD-be contRadictions, yesTeRday's 21 Jean LOuIs COmolli, AND Jean NarBoni. "Appendix I: Cinema/IdeoLOgy/CritIciSm." In JEan-LOuis ComolLi, CInema AGaiNSt SpecTacle. (AMsterDaM: AmSTErdam uNIvErsItY Press, 2015), 255. 144 THE YearS Of PERMaNeNT MiDNIGHT mABINI REVIEW I VOLUMe 7 (2018) ConTradictions, arE on The sURFaCe, aND sINce ThERe iS NOthing but surfacE they are no LoNGeR contradicTIonS."22 WHat does This oveRdeteRMinatioN of signifIcation do? thIs is REAllY what BelleR called "cApitalizeD MediaTIoN
 ng paraan." Cheesy, 'no?(Look at t his d ial ogu ehere ...The woman's. S e e if  it's just right. I ha ve afe e ling th at it 's goin g  t o bech ee sy.  H e re  it g oes : "Seem s like I d o n ot  want to goo nanymore. I t's  always 143J.DEYTOMA BIN I  REVI EWI VOL UME 7( 2018)been like  t h is eve r  sincew e  g et t ogether. If you'r e  h a ving a hard ti me, Ma rk ,  I h ave  it  much hard er . Bec a use I'v e  b e e n  ke e ping it in. B ut I am alw a ysfindin gway s  to ma ke us  w o rk. " Cheesy, r ight ? At theend of the fil m , it is  revea led  th at S a mis  ac tu a lly Is a's ins tructorfo rthe s crip t w r i ting  cl ass.  As I sa submittedher  scr e enp lay p rojec t, S am  brow sed th rough  t he script until  hereached t hepa rtwh ere i t  saysWak as(End),immedia t ely  r e a c he d out to his pen a nd e ra sed theword.W ha ti s happen in g o n bo t h  inst ance s  c ited abo ve can be  s aid tobe  a rep et iti onof th e  fru strati on intoanoth e r filmic eleme n t from the di a lo g u e. This  re petition –a hy p ersi gnif i ca tio n , ina sen se –b ecomes in itself, a navoida nce f or anymore si gnificatio n . The frus trat i on s  repeated in t he sc enes persi s t as the  only  signifi cant part o f the st ory : i t b egs t obe taken as i t is.Th e films  "s pea[k]toits elf  ab ou t itself,  without  d is cr ep anc y."21 What isto  be  e xpe ctedt hen, i f weareco ns i der ing thi s  r e p etit io nas a voi da nce o f si g nif ication  as a mec han i sm o fci nemaapp aratus to rep ro duce ideol og y,of the s ubjectsthat it forms? Such for m ationside ntify  the  subjectwho  is on e w h ich ex ternal  cont ra dic t i ons a r e  n o l on ger a pres s i ngmatte r,  but  all th at must be resolve d  ar e exclusively  pe rson a l .Bel l er str es s eso n  this kind of s ignificati on as  a kind of "fl at tening"  betwee n dep t h and s ignificat ion where  " [a]l l ofthe would- be contr adictions ,  yest e rd ay's21Jean L ou isComol li, an d  Je an Na rboni.  " Append ix I:  C inema/Id eology/Criticism." In J ean-Lo uis C omo lli, Cine maA gai nst Spect acle . (Amsterd am:  Am sterd amU niver sity Pr ess ,  2015 ), 2 5 5. 144 TH E  Y EAR S OF  PERMANENTM I D NIG HT MA BIN I  REVIE W IVOLUME 7 (2018) c o ntradictions,areo n  th e s u rfac e,  and since the reis n othing b ut  surface th ey are n ol onger  contr adicti ons."22 W ha t  doesthis  ov erdetermi nat io n  of sig ni fi c ationdo?Th is isreally what B eller called "ca pital i z ed me d iat ion
 ng_paraan." Cheesy,_'no? (Look at this_dialogue here..._The_woman's. See_if_it's just right._I have a_feeling that it's going_to be cheesy._Here_it goes: "Seems like I do not want to go on anymore. It's always_143_J. DEYTO_MABINI_REVIEW_I VOLUME 7 (2018) been_like this ever since we_get together._If you're having a hard time, Mark, I_have_it much harder._Because I've been keeping it in. But I am_always finding ways to make us_work." Cheesy, right?_At_the_end of the film,_it is revealed that Sam is_actually Isa's instructor for the scriptwriting_class. As Isa submitted her screenplay project,_Sam browsed through the script until_he reached the part where_it says_Wakas (End), immediately reached out_to his pen_and erased_the word. What_is happening on both instances cited_above can be_said to be a repetition of_the_frustration into another_filmic_element_from the_dialogue. This repetition_–_a hypersignification,_in_a sense – becomes in itself,_an_avoidance for anymore signification. The frustrations repeated_in the scenes persist_as_the only significant part_of the story: it begs_to be taken as it is._The films_"spea[k] to_itself about itself, without discrepancy."21 What is to be expected then,_if we are considering this repetition_as avoidance of signification_as a_mechanism_of cinemaapparatus to_reproduce_ideology, of_the subjects that it forms? Such formations_identify the_subject who is one which external_contradictions are no longer_a_pressing matter, but all that must_be resolved are exclusively personal. Beller_stresses on this kind of_signification_as_a kind of "flattening" between_depth and signification where "[a]ll of_the would-be contradictions,_yesterday's 21 Jean Louis Comolli, and Jean_Narboni._"Appendix I: Cinema/Ideology/Criticism." In Jean-Louis Comolli,_Cinema_Against Spectacle. (Amsterdam: Amsterdam University Press,_2015),_255._144 THE YEARS OF PERMANENT_MIDNIGHT MABINI REVIEW I VOLUME 7_(2018) contradictions, are on the surface, and since there_is nothing but_surface they are no longer_contradictions."22_What_does this overdetermination of signification do? This is really what_Beller called_"capitalized mediation