Considered in this essay are snow globes of catastrophe, representing loss and malevolence, which trouble the notion of snow globes as comforting keepsakes. When we consider snow globes as products and reflections of the social world and the individual's place within it, it is not surprising that some artists and designers use these objects to depict some of the darker sides of contemporary life. While at first glance, snow globes might seem trite or trivial objects, on closer reflection, they are revealed to be symbolic realms that provide clues to the desires, dreams, nightmares, and memories of the cultures that produce them. In looking at the ways in which the topographical and sociopolitical ingredients of this film relate to aesthetic and narratological elements, the author seeks to draw out similarities between the idea of people as social clusters and the concept of narrative communities, attracting the reader’s eye to their spatial relations (as collections) while foregrounding the salient features of ‘postcard cinema’. Inspired by the writings of Walter Benjamin, Tom Conley, and Naomi Schor, the author examines how the six constituent parts of Paris vu par… crystallize various facets of French life scattered across the map of Paris, thus imparting a sense of representational wholeness despite the film’s metonymic slippage into modularity.

Like Paris, Je t’aime (2006) forty years after it (albeit on a very different scale), each episode of this film is set in a different section of the French capital, introduced by way of expository captions identifying the various locales and names of the filmmakers. Six in Paris), a transauthorial production bringing together the individual contributions of directors Claude Chabrol, Jean-Luc Godard, Eric Rohmer, Jean Rouch, Jean Douchet, and Jean Daniel Pollet. This article examines the important yet overlooked 1965 omnibus film Paris vu par… (Paris Seen by…, a.k.a.

Barthes myth