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      <title>Comments On: NYFF 2010: &lt;i&gt;Mysteries of Lisbon&lt;/i&gt;
    
      by Miriam Bale</title>
      <link>http://www.thelmagazine.com/TheMeasure/archives/2010/10/10/nyff-2010-mysteries-of-lisbon</link>
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      by Miriam Bale</description>
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    <title><![CDATA[Re: NYFF 2010: Mysteries of Lisbon]]></title>

    
    <link><![CDATA[http://www.thelmagazine.com/TheMeasure/archives/2010/10/10/nyff-2010-mysteries-of-lisbon/#1773085]]></link>

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    <author><![CDATA[Miriam Bale]]></author>
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      <![CDATA[Thanks, Judd. I'm not sure it makes any difference how he achieved it, but that's good to know.
        
        <br />
        Posted by 
        
          <a href="http://www.thelmagazine.com/newyork/Profile?oid=1765887">Miriam Bale</a>]]>
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    <pubDate>Mon, 11 Oct 2010 00:19:44 -0400</pubDate>
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          <item>
    
    <title><![CDATA[Re: NYFF 2010: Mysteries of Lisbon]]></title>

    
    <link><![CDATA[http://www.thelmagazine.com/TheMeasure/archives/2010/10/10/nyff-2010-mysteries-of-lisbon/#1772676]]></link>

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    <author><![CDATA[Judd Blaise]]></author>
    <description>
      
      <![CDATA[A similar kind of split focus shot with noticeable blur in the middle has popped up in lots of Ruiz's works over the years, including many shot on film -- there's examples going at least as far back as Three Crowns of the Sailor. I remember reading something about him using jerry-rigged variations on a split diopter effect, improvised out of pieces of glass in a way that results in a thicker division between the planes.
        
        <br />
        Posted by 
        
          <a href="http://www.thelmagazine.com/newyork/Profile?oid=1772675">Judd Blaise</a>]]>
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    <pubDate>Sun, 10 Oct 2010 20:14:30 -0400</pubDate>
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