Dialectical disorientation in Agnes of God

Agnes of God's rhetorical impact stems from the unconventional manner in which it treats dialectical conflict. We argue that the film embodies a pattern of change distinct from those identified by Rushing, Frentz, and other critics, one we label “dialectical disorientation.” This pattern emerges from conflict between two antithetical but complementary life worlds and results in a paradoxical acceptance of the uncertainty and ambiguity of the human condition. Our examination of Agnes of God yields five characteristics of “dialectical disorientation.” We conclude by discussing the rhetorical implications of the form, arguing that Agnes of God is representative of a class of highly configural films that function to jar conventional sensibilities and articulate complex human problems that defy expression in more conventional, discursive form.