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"The Time of the Crime" researches the relationship between time and vision as it emerges in five Italian films from the sixties and seventies: Antonioni's "Blow-Up" and "The Passenger", Bertolucci's "The Spider's Stratagem", Cavani's "The Night Porter", and Pasolini's "Oedipus Rex". By pushing the detective story to its extreme limits, these films articulate forms of time that defy any clear-cut distinction between past, present, and future - presenting an uncertain temporality that can be made visible but not calculated, and challenging notions of visual mastery and social control.