Narrative Comprehension and Film (Sightlines)

SIGHTLINES

-1 i

Edited by Edward Buscombe, The British Film Institute and Phil Rosen, Center for Modem Culture and Media Studies, Brown University/� USA--· __�___

Cinema Studies has made extraordinary strides in the past two decades. Our capacity for understanding both how and what the cinema signifies has been developed through new methodologies, and hugely enriched in interaction with a wide variety of other disciplines, including literary studies, anthropology, linguistics, history, economics and psychology. As fertile and important as these new theoretical foundations are, their very complexity has made it increasingly difficult to track the main lines of conceptua1ization. Furthennore, they have made Cinema Studies an ever more daunting prospect for those coming new to the field.

NARRATIVE COMPREHENSION --AND-FILM

Edward Branigan

This new series of books will map out the ground of major conceptual areas within Cinema Studies. Each volume is written by a recognized authority to provide a clear and detailed synopsis of current debates within a particular topic. Each will make an original contribution to advancing the state of knowledge within the area. Key arguments and terms will be clearly identified and explained, seminal thinkers will be assessed. and issues for further research will be laid out. Taken together the series will constitute an indispensable chart of the terrain which Cinema Studies now occupies. Books in the series include: NARRATIVE COMPREHENSION AND FILM

Edward Branigan

NEW VOCABULARIES IN FILM SEMIOTICS Structuralism, Post-structuralism and Beyond RDbtrt Stam, Ro«rt Burgoyne and Simdy Flitterman-Lewis

CINEMA AND SPECTATORSlID'

Judith Mayne Forthcoming:

UNTHINl

:

�

French Stu

. .

i cs °f Art: P:ague Doldel, Lubomfr. "A Scheme of Narrative Time " In Sem,otl School Contributions. ed. by Ladislav MateJ'ka and ioon R . Tltunik. Cambridge. Mass . : MIT Press, 1976. Dowling, William C Jameson Alth r• MDrx.: An Introduction to "The Political . ll Uruvemty �a' N .Y ... 'CorneUS5e Dreamwor: • Press 1984 Unconscious•" Itha 1 (Spnng 1980). Special issue on "Dream :md Film•" . . Oks swald and Tzvetan Todorov Encycloptdic Du = e th ine Porter : Baltimore. M by Ca er

aot. �;�r!:;,��.

� J{,�sa;;;: 1-

I OSOPhy 'Thruugh Its Dummett, Michael. "Frege: Sense and Reference " In Ph'l Past. ed. by Ted Honderich. New York: Penguin' 1984 , � Durgnat. Raymond. The Slrtmge Case o� Al'-' HitchcocJ ,c or The Plain Man 's � '� Hitchcoc1c. Cambridge. Mass..' MIT Press 1 974 . Sons Ourovi�va. NataAa. "Letter to an Unkno� W�man' Readin DySokil. Unpublished paper. Los Angeles: UniversitY of Cal� a.��. . er. Richard. Stars. London: British Film Institute 1979 Eagle, Herbert. ed. Russian Fomudist Film TI.�. , ,-,!t.• Ann •Arbor: University of Michigan Press. 1981. . . Eberwein, �o� T. Film and The Dream ScrtDt: A Sllep and a I;orgetting. Princeton, N.J .. P?n�eton University Press. 1984. . __ 'The Fllnuc Dream and Porn ' t of V'leW." Iiterahue/Film Quarterly 8 (1980):

�

197-203.

. • '-'!t nI V J Sem'10tics . Bloommgton: Indiana University Press. Eco. Umberto . A TI._. 1976. Edmiston, William F. "Focalization and th Firs Narrator: A Revision of the Theo ." Poetics TodJIy 10 ry

(Winter �989):t�� 294

York: Harcourt, Sense. trans. by Jay Leyda, New Eisenstein, Sergei. The Film Brace & World, 1947. Theory. ." In Film Form: Essays in Film ectic Approach to Film Form . __ "A Dial 1949 ld, Wor & e Brac : Harcourt. Film trans. by Jay Leyda. New York ay." In Film Form: Essays in , Griftfi h, and the Film Tod __ "Dickens , Brace & World, 1949 . ourt Harc : York New a. 1. Theory, trans. by Jay Leyd In S.M. Eisenstein: �/ected Works Fourth Dimension in Cinema." __ "The Indiana University ton: ming Bloo or. Tayl ard ings 1922-34, trans. by Rich

Writ

Press, 1988. Film Form)." (The Dialectical Approach to "The Dramaturgy of Film Form ard Taylor. Rich by . trans -34, s I, Writings 1922 .. In S.M. Eisenstein: Selected Work . 1988 , Press ersity Univ ana Bloomington: Indi : Hackett. 1983. ce to Referenct! · Indianapolis. Ind. Elgin. Catherine Z. With Referen ma. Princeton, Cine en's Wom and ition Trad ot: Film Fischer. Lucy. ShotlCoun tersh . s, 1989 N.J. : Princeton UniVersity Pres perJormana to Modern and Narrativity: From Medieval Fleischman. Suzanne . Tense . Texas Press. 1990 Fiction. Austin: University of ford BooksIMIT of Mind. Cambridge, Mass.: Brad Fodor. Jerry . The Modularity Press, 1983. e, 1927. Novel. New York: Harcourt, Brac Forster. E.M. Aspects oj the . 1987. Ablex : N.J. , ood Norw Epistemology. HarFrawley. William. Text and Poetic Mythology. New York: in Studies tity: Iden of Fables Frye. Northro p. . 1963 d, court. Brace & Worl Relevance to Aesthetics Melvin to Melville: On the Gardner, Howard. ''From Arts, Cognition, and The In on." ensi preh Com of Recent Research on Story rel. 1978 . Cem : Mo. is. Lou St eja. Mad s. Basic Skills. ed. by Stanley S. ligences. New York: Basic Book

__

tiple Intel Frames of Mind: The Theory ojMul 1983. New York: ory of the Cognitive Revolution. The Mind's New Science: A Hist . 1987 ed Basic Books, expanded of Film on in the Cinema." Journal

_

__

.•

and Monstrati Gatidreault. Andre. "Narration 29-36. ): 1987 ng (Spri 39 Video and Evidence for Narrative �is Grosjean. "Empirical Gee. James Paul and Fran 1984): 59...as . ch (JanUary-Mar 8 ce Scien itive Structure." Cogn New Literr tive." trans. by Ann Levonas. ies of Nara Genette. Gmud. ''Boundar . ): 1-13 ary History 8 (Autumn 1976 . Ithaca. i Method. trans. by Jane E. Lewin

Narrative Discou rse: An Essay n

s. 1980. N.Y .: Comell University Pres

__

. Narrative Discourse Revisited. trans

ell

by Jane E. Lewin. Ithaca, N.Y.: Corn

University Press 1988 . oj Aesthetics on and Non-Fiction." JournaI Gemg. Richard J. ''Reexperiencing Ficti . ): Xl7�

__

.

1989 ence . and Art Criticism 47 (Summer sa on the Organization of Experi ysis: -An Esy Goffman, Erving . Frame Anal 1974. s. Pres y ersit Univ ard Cambridge. Mas s.: Harv Mass.: Harvard Unilogy and Cognition .• Cambridge, Goldman, Alvin I. Epistemo versity Pres.s 1986 . ry oj Symbols. Indianas of Art: An ApprJach to a Theo Goodman. Nelson. Language . 1976 ed" 2nd polis. Ind.: Hackett. Ind. : Hackett, 1978. of Worldmaking. Indianapolis. y Press. __ Ways ge. Mass.: Harvard Universit Fiction. and Forecast. Cambrid Fact,

4th ed . • 1983.

__

295

't 0

WORKS

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CITED

Of Mind and Other Mattus. Cambridge,

563-79.

Grimes, Joseph E. TIte Thmul of Discourse. The Hague: Mouton, 1975. Gulich, EJisabeth and Uta M. Quasthoff. "Narrat ive Analysis." In Handbook of Discourse Analysis 2: Dimensions of Discourse, ed. by Teun A. van Dijk. New York: Academic Press, 1985. Guynn, William. A Cinema of Nonfiction. London and Toronto: Associated Uni­ versity Presses, 1990. Hale, Norman . "Letter from an Unknown Woman: The Dance of Time and Space." Cinemmr1cry 5 (Winter 1979): 11-14. Hamburger, Klite. TIte Logic 01 Literature, trans. by Marilynn J. Rose. BlOOming­ ton: Indiana University Press, 2nd rev. ed., 1973. Hamon, Philippe. "Rhetorical Status of the Descrip tive." Yale French S� 61 (1981): 1-26. Harding, D. W. "Psychological Processes in the Reading of Fiction. " British JOIlT7IIll of Aesthetics 2 (Aprll. 1962): 133-47. Hamad, Stevan, ed. CIIkgoriad Perception: TIte GTIJIlndwork of Cognition . New Yorlc Cambridge University Press, 1987. Harbnan, Geoffrey H. 'The Voice of the Shuttle: Languag e hom the Point of View of Literature." In &yond Formalism: Literary F.ss4ys 1958-1970. New Haven, Conn.: Yale University Press, 1970. Haskell. Molly. From Reoemu:t to Rape: The Treatme nt of Womell in the Mwies. Chicago, ill . : University of Chicago Press, 2nd ed., 1987. Haslett, Beth. "A Developmental Analysis of Childre n's Narratives." In Contem­

porary Issues in Languag

e and Discourse Proces,ses ed. by Donald G. Ellis and William A. Donohue. Hile lsdal , N.J.: Erlbaum, 1986. Hastie, Reid. "Schematic Principles in Human Memory ." In Social Cognitio:n The Ontario Symposium 1, ed. by E. Tory Higgins, C. Peter Herman, and Mark P. Zanna. Hillsdale, N.J.: Erlbaum, 1981. Hayward, Albert W. Review of L.B. Cebik's Fictional Na"ative and Truth: An

296

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Epistemic Analysis. In Journal of Aesthetics and Art Criticism 45 (Wmter 1986):

Mass.: Harvard University Press,

1984. Goodman, Nelson and Catherine Z. Elgin. Reconap tions in Philosophy and Other Arts and Sciences. Indianapolis, Ind.: Hackett, 1988. Gorbman, Oaudia. Unheard Melodies: Narrativ e Film Music. BlOOmington: Indiana University Press, 1987. Gossman, Lionel. "History and Literature." In TIte Writing of History: Utertzry Form and Historical Understsznding, ed. by Robert H. Canary and Henry Kozicki. Madison: University of Wisconsin Press, 1978. Graesser, Arthur C. and Leslie F. Clark. Structures and Procedures of Implicit . . Knowledge. Norwood, N.J.: Ablex, 1985. . - --Greenspun, Roger. "Corrections: Roger Gre u ensp n on Letter from an UnJarown Woman." Film Ccmmren t 11 Oanuary-February 1975): 89-92. Greimas, Algirdas Julien. On Mnuring: Seltcted Writings in Smriotic TIrmry, trans. by Paul J. Perron and Frank H. Collins . Minnea polis: University of Minnesota Press, 1981 . Greimas, Algirdas Julien and Fran�is Rastier. "The Interaction of Semiotic Constraints." Yale Frmch Studies 41 (1968): 86-105. Greimas, Algirdas Julien and Joseph Court�s . 'The Cognitive Dimension of Narrative Discourse." NroJ Literary History 7 (Spring 1976): 433-47. __ 'The Cognitiv e Dimension of Narrative Discourse." Reprinted in special issue on "Greimassian Semiotics" in NroJ Literary History 20 (Spring 1989):

'

I

�S

tephen. "Film and System: Terms of Analysis 1." Screen 16 (Spring 1975): 7-77. ,, and System: Terms of Analysis 2. Screen 16 (Summer 1975)'. __ "Film 91-113. creen 17 (Spnng ' 1976)'. __ "Touch of Evil, the Long Version - a Note. " S 115-17. . ' h Flm I ed. by Paul Willemen. London: BntiS __ "Postscript." In Ophuls. Institute, 1978. . . In Ophuls, ed. by Paul Wiliemen. London. __ 'The Question Oshima." British Film Institute, 1978. . __ "Body, Voice." In Questions of Cinema. New York: Macmillan, 1981. . __ "Contexts." In Questions 01 Cinema. New York: Maanillan, 1 1 . 1. __ "Narrative Space." I n Questions of Cinema. New York: Maanillan. 1 __ 'The Question Oshima." In Questions of Cinema. New York: Macmillan, 1981. . of L'Iml'ts. Hedges, Inez. B�ng the Fra�: Film Language and the f.rptrieIU% . Bloomington: Indiana Uruverslty 1991. . Hobbs, Jerry R. Literrl ture and Cognltwn. Stanford, Calif.: Center for the Study of Language and Information, 1990. Hoberman, J. "Dis Orient, Dat Occident." Village Voice. Nov�ber 1, 1983. Hochberg, Julian E. Perception. Englewood Cliffs, N.J.: Prentice-Hall, 2nd ed., 1978. . "Representation of Motion and Space in Video and C'memabC DispIays ." ---r;:;-Handbook of perception and Human Performance 1, ed. by Kenneth R. Boff, Lloyd Kaufman, and James P. Thomas. New York: John Wiley & So":" 198 ; Holland, Norman N. "Film Response from Eye to I: The Kuleshov Experiment. South Atlantic Quarterly 88 (Spring 1989): 415-42. Hume, David. A Trtflnse of Human Nature 1, ed. by L.A. Selby-Bigge. London: Oxford University Press, 1951. !ser, Wolfgang. The Act olRetuling: A Theory ofAesthetic Response. Baltimore, Md.: Johns Hopkins University Press, 1978. . "Narrative Strategies as a Means of Conununication." In IlI�t!on of �/ltive, ed. by Mario J. Valdes and Owen J. Miller. Toronto: UruVerslty of Toronto Press, 1978. Jackendoff, Ray. Consciousness and the Computational Mind. Cambndge, Mass... " MIT Press, 1987. . . Jakobson, Roman. "VJSual and Auditory Signs." In SeItded Wntings 2 . The Hague: Mouton, 1971 . r ....., S/miss, ''Linguistics and Poetics." In TIte S/nIctUTIllists: From M8T% to ,"",U'Garden Gty, N.Y.: Doubleday, by Richard and Femande de

H

�

�

�,

�

---;t.

1972. James, William. The J

�.

Principles of Psydroiogy 1 .

. Cambridge, Mass.: Harvard Uru-

;;:.t��� of the Film: Epistemology, £ntology, Aesthetics. New York:

Routledge & Kegan Paul, 1987. . . , ' Jesionowski Joyce E. Thinking in Pictures: DrllJnatic Structure III D. W. Griffith s 1987. Press, Bio II h Films. Berkeley: University of California . . . Mark. TIte Body in the Mind: TIte Bodily Basis 01 Meaning, Imagl7lahon, Joh and Reason. Chicago, ill . : University of Chicago Press, 1987.

nforI:

297

""" WORKS CITED

I
Daghistany, Ann ch. 1 nn. 10, 55, ch. 4 nn. 60, 88 Dahl, Osten ch. 4 n. 33 Danto, Arthur 117, 118, 167, 202, 217, ch. 2 n. 46, ch. 4 nn. 65, 7l, ch. 6 n. 10, ch. 7 nn. 33, 56 Darlc Passage (Daves, 1947) ch. 5 n. 42 DatIid Holzman's Diary (McBride, 1%7) ch. 7 n. 46 Davies, Terence ch. 4 n. 31 Davis, Howard ch. 6 n. 59 Dayan, Daniel ch. 6 n. 21 de Beaugrande, Robert 111, ch. 4 n. 53 de Gelder, Beatrice ch. 7 n. 14 de George, Femande ch. 4 n. 44 de George, Richard ch. 4 n. 44 de Lauretis, Teresa ch. 2 nn. 30, 60, ch. 6 n. 59 de Palma, Brian ch. 3 n. 25 de Saussure, Ferdinand 9, ch. 1 n. 19, ch. 6 n. 55 Debrix, Jean R. ch. 2 n. 17 declarative knowledge see procedural knowledge decontraction 187 defamiliarization 120 deferred revision 84, 123, ch. 7 n. 15; definition ch. 4 n. 87 Denner, Arthur ch. 4 n. 62, ch. 6 n.

55

depth of knowledge 73, ch. 4 n. 32 Derrlda, Jacques ch. 6 n. 55 Derry, Charles ch. 5 n. 16 desoiption 20, ch. 1 n. 58, ch. 3 n. 34 Desser, David ch. 4 n . 69

Deutelbaum, Marshall ch. 4 nn. 7, 18, 69 Diawara, Manthia ch. 1 n. 74 diegesis xi, 22, 95; and character 50-1; definition 35; hyperdiegetic 189-90; in The lAdy from Shanghai 49; and levels of narration 50; looking into the camera lens 55, ch. 2 n. 54; nondiegetic 35, 36, 49; pseudo­ diegetic ch. 4 n. 22; relation Ito story and screen 36; relative to reference point l� direct discourse see discourse discoUTS ch. 6 n. 8 discourse: types of 168-9, 176, ch. 4 n. 24, ch. 6 nn . 2, 32; in !.dter from an Unknown Woman 178-80, 185, 189; and monstration 146, ch. 5 n. 14; in Sans Soleil 210-11; see also narration, types of levels of; speech Disney, Walt ch. 1 n. 44 disparity of knowledge 66-72, 73, 76, 81, 85, 186; and hierarchy of levels 74-5; methods of analysis of 73; see also narra tion, and epistemolOgical boundaries distance 73; see also p1'Qxi.atity Distant Voices, Still Lives (Davies, 1988) ch. 4 n. 31 Omytryk, Edward ch. 2 n. 30 Doane, Mary Ann ch. 6 nn. 21, 31, 59

Dr. Mizbuse, the Gambler (Lang,

Part

One, 1922) 51-5, 56, 60, 62, 84, 94, ch. 2 n. 23 documentary 38, 98, 200, ch. 5 n. 1; and camera poSition 206; and causality 202-3; dassical xii, 204-7, 209, 211, 212, ch. 7 nn. 38, 48; conventions of 204, 206-7, ch. 7 nn. 39, 46; definition 202-4; and diegesis 35; documentary of a documentary 208; narrative and nonnarra tive 202-3; and the spectator 202; and time 209. 215; see also fiction; nonfiction Doldel, Lubomir ch. 5 n. 22 Donato, Eugenio ch. 3 n. 35, ch. 4 n.

45

Donohue. William A. ch . 1 n. 51. ch. 3 n. 9 double causal structure 21, 30-1, 143,

310

ellipsis 40, CJl, 182 iency ch. 5 n. 6; efficacy ;»-1; effic n. 51, ch. 3 n. Ellis. Donald G. ch. 1 30-1 9 n. 32 Dowling, William C. ch. 1 141, 156, 196-7, empiricism 112, 121, ch. 7 n. 17 Doyle, Sir Arthur Conan SO, ch. 7 n. 17 n. 5 ch. ch. 4 n. 72, dream 123 historical present see erite pret epic 28 16, . 2 nn Dreyer, Carl Theodor ch. tense 82, 30, Ducrot, Oswald ch. 5 n. 56 epilogue 6, 7, 18, 25, 29, n. 3 4 ch. 36, n. 3 ch. el epIlogues two Duisit, Lion 27; n. 7 ch. 164, 91, 1 Dummett. Michael ch. 7 n. 98 213, ch. 2 1 �. 61 duration, temporal 94. 159,. episode 19-20, 22, ch. ation 177, n. 17; as aspect of narr. ical boundaries see olog tem epis 209; 26. . ch. 1 n. 60; and causality r tion nara 24; and and convention ch. 5 n. (Sauve qUI peut self Him For Man 3 Every ch. en depth ch. 5 n. 20; on scre 72 (/a vie), Godard, 1980) 7 n. 53; nn. 1. 33, th. 5 n . 22, ch. 154, ch. 2 as type excess 10, 34, 36, 138, 140, . 24; n 2 ch. 69, 42, and story . 41 n. 5 ch. 90, n. 4 n. 4, ch. In verbs of time 20; types of 148; value see use value e ang exch 8 213, ch. 1 n. . 7, 35 exemplification ch. 7 nn . 1 n. 75 Durgnat, Raymond 30, ch 18 n sitio 51 expo 7 n. . Durovirova. Nata!a ch. ch. 2 n. 57 expressionism, graphic Dyer, Richard ch. 5 n. 56

�,

73 Eagle. Herbert ch. 4 n. 151, 152, 154, Eberwein, Robert 150, ch. 5 nn. 28, 29, 30 171, 174, ch. eccentric view 138, 139, 59 2 n. Eco Umberto ch. 4 n. 44 n. 30, ch . .6 �. editing: cheat cut ch. 2 of elIipSlS 43; continuity 52; as form ch. 7 n. 147' and fiction effect 201,

Trust 63-4; 32' 'in The Girl and Her

51-5, ch . a;d imposlsib e space 44, and 84 52, sible invi ! ; 2 n. 28 The invisible observer 171; In ative from Shanghai 48-9; and narr structure 142; and narrator as perception of ch. 2 n. 10; y and personification 181; stor lspace 40-4, screen 45, 47; and time ponent com n dow top20; n. 6 ch . ch. 16, n. 2 ch. , 118 . of 29, 47� n of material n. 54; see also separatio and structure ch. 4 nn. 32, 36 Edmiston, William F. 4 n. 81 Eikhenbaum, Boris ch. 35, 144, 147. 25, 11, gei Ser in, Eisenste 2 nn. 6, ch. 64, 28. nn. 1 148. ch. 5 n. 19, ch. 7 7, 28, ch. 4 n. 84. ch. n . 42 4 n. 84, ch . 7 Elgin, Catherine Z. ch.

f.:adY

146;

�

nn. 1, 7

�

46, 1.1 ; in Band fiction xi, 1, 6, 15, 36, ik 5 . of Outsiders 199-20;0 Ceb the readIng definition 195; cues for 198, 36, il of 199, 200-1; and deta ed by 199-200, 211; not determm n. 24; 7 ch. n ptio perce p bottom-u a�e 1. 192; distinguished from narr fiction distinguished £rom non n. 2 , . 2 ; 192-3, 1%. 204-5, ch. 7 emptnClst and editing ch. 7 n. 32; theory of 196-7; and 7; faJse . exemplification ch. 7 n. fiction 199; 1CJl, 194, 88, ons ficti 40; and film effect 201 ch. 7 nn . 32, tion 192, defini eral gen study er's 1%, ch. 6 n. 12; Hamburg Square definition 168; in Hangover 196-7; and 136' idealist theory of 7 �. 27; inddwte article 199, ch. tation! and knowledge represen structure 195; in The lAdy ns Shanghai 39, 47, 49; legal fictio anical ch . 7 n. 2; and mech . 21, 30; , reproduction ch. 7 nn 1 ; Metz s mdtaphorical fictions IIUXed definition ch. 3 n. 25; . 13, 24; as fictions 197, ch. 7 nn er than mode of believing rath 205; , 192-3 ing and underst ent of 88; as nonfictional compon

�

� ?

193;

frat!'

�

311

......

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INDEX

nonspecific reference 194-6, 198-20,0 201, 204, 205, 216, ch. 6 n. 12, ch. 7 n. 27; and openes n fs/ it 194-5; and photography 198-20;0 possible worlds 194, ch. 7 n. 17; and presupposition 195, 198; as both process and product 196· psychologically real theory of ' 196-8; as a reading procedure 193, ch. 7 n. 24; and reality 193-4; and reference 88; and Russian formalism ch. 4 n. 75; in Sans Soleil 201, 211, 212, 216; Searle's definition 193; Slater's definition 194; speech-act theory of ch. 4 nn. 17, 35, ch. 7 n. 17; and truth 88, 89, 193 ch. 7 n. 24; as a type of interpretation 88, 198-200; and words 198-9 filling in 16, 22, 29, 30, 46, 47, 112, ch. 1 n. 70; default values 14; types of gaps ch. 1 n. 41 filter ch. 4 n. 62 first belief see spectator first-person narration see narration' first-person Fischer, Lucy ch. 6 nn 40, 59 Fisher, Steve 153 flashback 41, 42, 101, 102, 143, 172-7, ch. 2 n. 25, ch. 3 n . 11, ch. 4 n. 31;

free indirect discourse ch. 6 nn. IS, 16; see Illso discourse free motif ch' 3 n. 36 Freedle, Roy O. ch. 1 n. 35 Freleng. Friz ch. 1 n. 55 frequency, temporal ch. 2 n. 24, ch. 3 n. 41; iterative and pseudo­ iterative ch' 7 n. 32 Freud (Huston, 1962) 124 Freud, Sigmund 123, 190, 195, ch. 2 . - - - - - -- - . n. 27 Friedkin, William ch. 3 n. 25 Friedman, William J. ch. 1 n. 51, ch. 2 nn 16, 22 Frye, Northrop ch. 1 n. 10 fuzzy concepts 9, ch. 3 n. 32; see aJso indefiniteness .

Ga:;.dhi (Attenborough, 1982) ch. 7 n.

gaps in text see filling in; implicitness. ' indefiniteness Gardner, Howard ch. 1 nn 35, 45, ch. 2 nn 10, 33, ch. 3 n. 9 Gaudreault, Andre 146, 147, 148, 149, ISO, lSI, 158, ch. 5 nn 14, 16, 17, 27, ch. 7 n. 46 Gee, James Paul ch. 1 n. 49 Gelman, Rochel ch. 2 n. 16 gender, representation of ix, 47, 49, in Ltt ttr from an UrrIawwn Woman 151, 177; see Illso psychoanalysis 178-9 Genette, Gerard 107, 148, 149, ch. 1 Bashforward 40, 42, ch. 2 n. 25 nn. 29, 58, 60, ch. 2 nn. 17, 24, ch. Flaubert, Gustave ch. 6 n. 3 3 n. 26, ch. 4 nn 14, 22, 24, 32, 36, Fleischman, Suzanne ch. 1 n. 8, ch. 6 39, 57, ch. 5 nn 17, 20, 21, 22, 24, n. 11 ch. 7 nn 32, 48 Flitterman-Lewis, Sandy ch. 2 n. 39 Genig, Richard 113, ch. 4 n. 59 focalization xi, 80, 100-7; definition Girl and Her TTIlSt, 1M (Griffith, 1912) 101-2, lOS, 106-7, Ill, ch. 2 n. 12, 20-5, 26, 28, 30, 63, 66, 69, 71, 74, ch. 4 nn 33, 35; Genette's 84, 149, 152, 203, ch. 2 n. 31, ch. 3 definition 107, ch. 4 n. 39; see also n. 41, ch. 5 n. 6 narration, types of levels of Glenn, Christine G. ch. 1 n. 51, ch. 2 Fodor, Jeny ch. 2 n. 33, ch. 3 n. 20 n. 22 Fonda. Henry 90, 96, 164, 166, ch. 4 goal 16, 18, 21, 23, 24, 64, 70, 77; in n. 13 documentary 205; double Fontaine, Joan 177 motivation of character 30 Forster, E.M. 11, 121, ch. 1 nn 10, Godard, lean-Lac 20, 42, 72, 147, 199, 29, ch. 3 n. 14, ch. 4 n. 80 200, ch. 2 nn 16, 60 Franju, Georges ch. 7 n. 39 Goffman, Erving 46, ch. 2 n. 37 Frawley, William ch. 4 n. 48 Goldman, Alvin I. ch. 3 n. 7 free direct discourse set discourse Goodman. Ann ch. 1 n. 7, ch. 4 n. 61 312 .

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INDEX

Hiller, Arthur ch. 3 n. 25

Goodman, Nelson ch. 1 n. 56, ch. 4 n. 84, ch. 6 n. 4, ch. 7 nn I, 7, 35 Gorbman, Oaudia 140, ch. 5 n. 4, ch. 6 n. 37 Gordon, Michael ch. 3 n. 16 Gossman, Lionel ch. 1 n. 3 Graesser, Arthur C. ch. 1 n. 42 'Grande Syntagmatique' 148, ch. 7 n. 32 Gray, Hugh ch. 5 n. 9, ch. 6 n. 7, ch. 7 nn. 23, 46 Greenspun, Roger ch. 6 n. 37 Greimas, A.J. 9, 11, 12, ch. 1 nn. 8, 18, ch. 3 n. 25 Grice, Paul ch. 7 n. 19 Griffith, D.W. 21, 25, 63, 64, 66, 69, 74, 152, ch. 3 n. 1 Grimes, Joseph E. ch. 1 n. 22 Grosjean, Franr;ois ch. 1 n. 49 Gulich, Elisabeth ch . 1 n. 36 Guynn, William ch. 7 nn. 15, 34 Guzzetti, Alfred ch. 2 n. 55, ch. 3 n. 6, ch. 5 n. 58, ch. 6 n. 8, ch. 7 n. 4

Hiroshima mon amour (Resnais, 1960)

.

ch. 1 n. 74

His Girl Friday (Hawks, 1940) ch. 3 n. 16

his/oire ch. 6 n. 8

Halasz, Laszlo ch. 1 n. 36 Hale, Norman ch. 6 n. 39 Halsey, W.W. ch. 5 n. 19 Hamburger, Klite 168, ch. 6 nn. 6, 11 Hamon, Philippe ch. 1 n. 58 Hangover SlpllITt (Brahm, 1944) 125-40, 141, 157, 158, 159, 174, ch. 4 n. 18, ch. 5 nn. 3, 4 Harding. D.W. ch. 1 n. 65, ch. 7 n. 3 Hamad, Stevan ch. 1 n. 34 Hartman, Geoffrey H. ch. 6 n. 54 Haskell, Molly ch. 6 nn 38, 48 Haslett, Beth ch. 1 n. 51 Hastie, Reid ch. 1 n. 35 Hawks, Howard ch. 3 n. 16 Hayward, Albert W. ch. 7 n. 11 heap 19, 26 Heath, Stephen 10, 11, 203, ch. 1 nn. 22, 23, ch. 2 nn. 4, 30, 47, 60, ch. 3 n. 36, ch. -4 nn . 23, 30, 45, ch. 5 n. 56, ch. 6 nn 44, 53, ch. 7 n. 36 Hedges, Inez ch. 6 n. 47 Hemingway, Ernest ch. 6 n. 5 Henderson, Brian ch. 6 n. 21 Herman, C. Peter ch. 1 n. 35 hierarchy of knowledge 74-5, 86, 100; in 1M Girl and Her Trust 74 Higgins, E. Tory ch. 1 n. 35 .

_

.

historical present tense xii, 16&-72, 189, 214, 215, ch. 1 n. 60, ch. 6 n. 20; definition 16&-7, 170, ch. 6 n. 8; distinguished from epic preterite 166, ch. 6 n. 6; and flashback 176; in nonfiction 202, 203, 205; in Sans Soleil 213, 214-15; set also invisible observer; time Hitchcock, Alfred 56, 58, 60, 61, 66, 75, 88, 89, 91, 96, 98, 99, 111, 136, 143, 164, 166, 216, ch. 2 nn. 57, 59, ch. 3 nn. 16, 25, ch. 4 nn. 6, 8, 9, 12, 13, 28 Hobbs, Jerry R. ch. 7 n. 16 Hoberman, J. ch. 7 n. 51 Hochberg. Julian 35, ch. 1 nn. 30, 43, ch. 2 nn. 3, 8, 10 holism 156-7, 181, ch. 5 n. SO, ch. 6 n. 17 Holland, Norman N. ch. I n. 43 Hollinger, Karen ch. 6 n. 48 Honderich, Ted ch. 7 n. 1 HIJ/e/ des Inva/ides (Franju, 1952) ch. 7 n. 39 Howard, Richard ch. 1 nn. 7, 69, 75, ch. 3 n. 36, ch. 4 nn. 48, 61, SO, ch. 5 n. 1, ch. 6 n. 7, ch. 7 n. 23 Huillet, Dani�le ch. 2 n. 16 Hume, David 46, ch. 2 nn 35, 46 Huston, John ch. 3 n. 16 hyperdiegetic narration 189-90, ch. I n. 60, ch. 4 n. 32, ch. 6 nn 53, 55 hyperindex 216, ch. 7 n. 55 hyper-restriction ch. 4 n. 32 hypertext ch. 6 n. 55, ch. 7 n. 55 hypo-restriction ch. 4 n. 32 .

.

ideal view see perfect view imperfect view 71, 206, ch. 7 n. 46 impliCitness 75, 90, 99, 162-3, 170, I77}. ch. 4 n. 33; and indefiniteness 162-4; and perceph'bility ch. 4 n. 22; and psychoanalysis 124; and transgression of the boundaries between levels ch. 4 n. 32; see also indefiniteness; narration, implicit

313

:i

.....

----..

�-

,

I'll INDEX

INDEX

implied author 75, 90-1, 96, 98, 109, 164, 165. 167. 173, 205, ch. 1 n. 60. ch. 2 n. 5, ch. 4 n. 52; as convenient label 85; definition 94-5, ch. 4 n. 14; and hyperdiegetic narration 189; s« also authorship impossible: causality 31. 51, 55, 60, 62, 84, lOS, 186, ch. 2 n. 16; narration 166-7; space 44, 51-5, 62. ch. 2 n. 28; time 62; view 69, BO. 137, 139, 171, 172, 174 impossible view 69, 80. 137, 139. 171. 172, 174 in medias rts 18 indefinite article 170, 200; and interpreting a text fictionally 199, ch. 7 n. 27 indefiniteness 170; and fiction ch. 6 n. 12; and implicitness 1624; set also fuzzy concepts; implicitness; nonspecific reference indirect discourse Sfe discourse infraction ch. 4 n. 32 initiating event 18, 21, BO interest-focus ch. 4 n. 62 interior monologue SI!t discourse invisible: author SO, 52; character consciousness 184; distinguished from transparent ch. 3 n. 39; editing 52, 84; in film 84; narrator 107, 167, 170; and psychoanalysis 124, ch. 4 n. 90; speaker 38, 89; spectator ch. 6 n. 21; style 193; watcher 104, ch. 3 n. 15; SI!t also continuity; invisible observer; transparent invisible observer 71. 82, 85, 145, 164-72, ch. 6 nn. 3, 12; definition 95, 165, 171-2; and documentary ch. 6 nn. 3, 19; as an effect ch. 6 n. 18; invisibility 171; passivity 171-2; and psychoanalysis ch. 6 n. 21; verb form of ch. 4 n. 33; s« also historical present tense !ser, Wolfgang 121, ch. 1 n. 41, ch. 4 n. 78 iterative s« frequency Jackendoff, Ray ch. 1 nn. 8, 43, 49, 61, 70, th. 2 nn. 10, 33, th. 3 n. 44, th. 4 n. 10 Jacobs, Lea ch. 2 n. 52

SO. 100, 112. 137, 139. 140; set also

levels see narration, levels of Levesque, Hector J. th. 7 n. 14 Uvi-Strauss, Oaude 9. ch. 4 n. 69. ch. 5 n. 43 Levinson, Jerrold ch. 7 n. 16 Levonas, Ann ch. 1 n. 58 Lewin. Jane E. ch. 1 n. 29, th. 2 n. 17. ch. 3 n. 26, ch. 4 nn. 14, 22, ch. 79 5 n. 17, ch. 7 00 32. 48 Kozulin. Alex ch. 1 n. 52 Leyda. Jay ch. 2 00 . 6. 7. ch. 4 n. 84, Kurzon. Dennis ch. 1 n. 2 ch. 5 n. 19 Lifo of an American Fireman. The Labov, William 17, ch. 1 n. 48 (porter, 1903) ch. 3 n. 41 Lacan, Jacques 151, th. 3 n. 21 Ufo is a Dream (Ruiz, 1986) ch. 4 n. 31 lAdy in the lAke (Montgomery, 1946) Lightman, Herb 206, th. 7 n. 44. 45 142-6, ISO. 151, 152. 153, 154, 155. linguistics x, xi, xii, 9, 94-5. 122; and 156, 157, 178, ch. 2 n. 31, ch. 4 n. film analysis 17, 105, 169, 176. ch. 90. ch. 5 nn. 5, 6, 11, 32, 47, 53, 6 nn. 8, 14; and narrative analysis ch. 6 n. 2; implicit narrations in 143, 9-10, 94-5, 122; see also historical ch. 5 00 42, 49 present tense; indefinite article; LAdy from Shanghai, The (Welles, 1948) language; preposition; speech; 39, 42, 44, 47-50, 51, 55, 60, 62, 84. subjunctive conditional mood; verb 94, 186, 203. ch. 1 n. 72. ch. 2 nn. , Lenny th. 3 n. 28 Upton 14. 16, 23, 40, th. 5 n. 31 Livingstone. Margaret S. ch. 2 n. 33 Lako£f, George th. 1 nn. 19, 34, 40, lloyd, Dan 12, ch. 1 n. 33 52, ch. 2 nn. 16, 44-6, ch. 4 n. SO, Lubbock, Percy ch. 5 nn. 18, 52, th. th. 6 n. 19, ch. 7 nn. 9, 19 6 n. 3 Lane, Helen R. ch. 1 n. 53, ch. 2 n. Lubitsch, Ernst ch. 3 n. 16 17, ch. 5 n. 20 152, 153, ch. 5 nn. 34, Lang, Fritz 51, 52, 55, ch. 3 n. 16, ch. Luhr, William 35 5 n. 12 language: and film 17, 122, 217, ch. 1 McBride, Jim ch. 7 n. 46 n. 47. ch. 4 n. 56, ch. 7 n. 22; set MacCabe, Colin 74, 86, ch. 3 nn. 21. also linguistics 22, ro. 7 n. 4 Lanser, Susan Sniader 86, 107. 121, McCarten, John ch. 5 n. 11 ch. 4 nn. 1, 36, 40, 78, ch. 6 n. 19, MacDougall, David th. 7 n. 46 ch. 7 n. 41 Macherey, Pierre 153 Laplanche, J. ch. 4 n. 87, ch. 5 nn. Macksey, Richard ch. 3 n. 35, ch . 4 n. 36. 38 45 Last Will of Dr. M4buse, The (Lang, McVay, Douglas th. 6 n . 36 1933) th. 5 n. 12 S. th. 1 nn. 37, 45 Last Year At MDrimbIui (Resnais, 1962) Madeja, Stanley Man Who Knew Too Mudt, The 24 ch. l n. (Hitchcock, 1934) th. 3 n. 16 Lederman, Susan J. ch. 2 n. 30 Mancuso, James C. ch. 1 n. 34, ch. 2 Leff, Leonard ro. 6 n. 26 n. 2O Lehman, Peter ch. 2 n. 60, ch. 4 n. 77 elker. Steven th. 7 n. 17 Mand 51 7, nn. 1 ch. a Barbar Leondar, ler, George th. 2 n. 10 Mand 25 n. 3 Lester, Richard ch. Jean 13, ch. 1 nn. 35, SO, 56, ler, Mand n l.etter from an Unknown Woma 70 (Ophuls, 1948) 34, 172, 177-91, Marchessault, Janine ch. 7 n. 51 199, 201, 210, ch. 1 n. 70, th. 2 n. Margolin, Uri th. 5 n. 56 31, th. 3 00 10, 41, ch. 4 n. 11, ro. Margolis, Joseph ell. 7 n. 17 6 00 44, 53, 59

Jacobson. Caire ch. 4 n. 69 Jakobson, Roman ch. 4 n. 44. ch. 5 n. 22 James, Henry 101 James, Wtl1iam 46, ch. 2 n. 36 Jancs6. Mikl6s 20. 147 Jarmusch, fun 20 Jarvie, Ian 38, th. 2 n. 11 Jesionowski. Joyce E. ch. 3 n. 4 Johnson. Mark ch. 1 n. 40, th. 2 nn . 16. �. ch. 4 n. 48, ch. 4 n. SO. ch. 6 n. 19 Jones. Chuck ch. 1 n. 55 Jourdan. Louis 177 judgmental tone 73 Juggernaut (Lester. 1974) ch. 3 n. 25

disparity of knowledge; hierarchy of knowledge; procedural knowledge; subjectivity Kolers, Paul A. ch. 3 n. 8 Kozicki, Henry ch. 1 n. 3 Kozloff. Sarah Ruth ro. 4 nn. 14. SO.

.

Kant, Immanuel ch. 1 n. 32, ch. 2 n.

46

.

Kaplan, E. Ann ch. 2 n. 40, ch. 4 n. 90, th. 5 n. 38, ch. 6 n. 44 Kaufman, lloyd ch. 1 nn. 36. 43, ch. 2 nn. 2, 3 Kaufmann, Walter ch. 4 n. 49 Kawin. Bruce 156, 173, ch. 4 n. SO, ch. 5 n. 49, th. 6 nn. 14, 17, 24, 25 Kay, Paul ell . 7 n. 7 Kermode, Frank ell . 1 n. 62, ch. 4 n. 72 Kerrigan, Walliam th. 6 n. 48 Kestner, Joseph ch. 4 n. 60 Khatchadourian, Haig th. 2 n. 2 Kinder, Marsha ch. 7 n. 32 Kinneavy, James L. 108, th. 4 n. 44 Kintsch, Walter ch. 1 nn. 36, 38 knowing how 65-6, 76, 77, 86, 112, 125, 159, 217, th. 2 n. 43; and comprehension ch. 3 n. 8; definition 65; distinguished from knowing that 65; and narrative theories 121; Wittgenstein's definition 65, ch. 3 n. 8, ch. 5 n. 59; see also procedural knowledge knowledge: by acquaintance 120-1; by characterfnarrator 74-5, ch. 2 n. 58, ch. 4 n. 32; depth of 73, ch. 4 n. 32; by description (declarative) 120; Bow of 82; intermittent 69; and narrative xii. ch. 1 n. 60, ch. 4 n. 32; range of 73, ch. 4 n. 32; represen tation/structure of �17, 195; restriction of 51, 67, 69, 71, 73,

.

.

315

314

.....

INDEX

Marker, Chris 202, 213, 214. ch. 4 n. Michell Lynn 31. ch. 7 nn. 46, 51 Miles, Vera 96 ch. 1 n. 70 Mar,r David ch. 2 n. 3, ch. 4 10 Mill , John Stuart ch. 2 n. Marsh, Robert Charles ch. 7 n. 17 15 Milar l , Gavin ch. 2 n. 30 Marshall, Stuart 151. 152. ch. 4 n. 90 Mil ' l er , Mic hae ch. 7 n. 21 ch. 5 nn. 31. 32 MiUer, Owen J.l W. ch. 4 n. 78 Martin, Wallace 10, 39, 110, 111. ch. Mill er, Richard ch. 1 nn. 4. 20, 72, ch. 2 n. 13, 1 nn. 22, ch. 4 nn . 51, 66. 69, 79, ch. 5 n. 56. ch. M�. 45, eft. 5 n. 1, ch. 6 n. 5969. ch. 4 ink, Louis O. 1 n. 3 6 5. 15, 22 Minsky, Marvin ch. Marvin. lee 174, 176, ch. 6 n. 40, 46, ch. 1 nn 19 27 39 , ch. 2 nn. 19, 33, 38, ch. Maschler, Chaninah ch. 1 n. 16 �. 20, ch. 4 n. 60, ch. 5 n. 51 " ch 73 nn match: on action ch. 5 n. 5; graphic . 10, 11 58, ch . 3 n. 4; integrated 60, 61, 62, M 84, 97, ch. �7' The (farkovsky, 1975) ch. 3 n. ch. 4, n. 18; lIU5match 84,2 n.18257,, ch. 3 nn. 40, 41. M s/its, The ston, 1961) ch. 3 n. 16 ch. 6 n. 43; open 58; spatial 58 Mit! chell, W.J(Hu . , Ladisla .T. ch. 1 n. 73 Matejka v ch. 5 n. 22 Mizoguchi, Ken ji Mead, Gerald ch. 3 n. 36, ch. 5 n. 1 mod ernism 215 20 meaning 14, 29, 77, 1�, 196-7' 217', Modleski , Tania 190, 191, ch. 6 nn. and dassic 2OS; and 32, 48, 56-8 communicatitexts on 108; fictive 199; and mon stration film technique 48; and narrative g Montagu, Ivorseech.shO5win theories 122; and n. 19 regi stra tion Mo ntg ome ry, among leve ch. 1 n. 61; see also rt 142, 150, 153 Moreno, Julio Robe knowledge; lsrefe 144, 145, 146, 147, 149, renc e 151, 155, Meinong, AJexis ch. 7 n. 17 n. 46 ch. 5 nn. 7, 8' 13, ch. 7 Mellencamp, Patr icia ch. 5 n. 55' ch Mulvey, Laura ch. 6 n. 59 6 n. 31 MUnsterberg. Hugo memory 13-15, 19 ch. 2 n. 6, ch. 3 n. 6 m�n�n: as being about 88; as mys tery IIJ\pliot and Omniscient narration Mys 81, 121; definition 75-6 tery Train Garmusch, 1989) 94-5; as metalevel 88; as prod 20 ucing 8UDUnary 116; see also diSCOurse Naremore, James ch. 5 n. 56 metalepsis ch. 4 n. 32 metaphor 1. 144; in Band of Outsiders narration xi, 6, 65; between "two fiI�" 89; and bomb as narrative 199, 200; and causality 50, deVIce 75; by cter 50-1; by �; for comprehension6,of49, character glanchara �ages 34-5; and fiction 193;filmin The and ce in comedy 67'' communicati55; Girl lind Her Trust 31; narr ativ e ch. comprehension ofon113;107-10', 1 n. 9; nondiegetic 186; fo r reference ch. 7 n. 7; stylistic 61. 138, comprehensive definition 1 16-17' as concealment 74, SO, 81, 82, 84: 155, ch. 2 n. 59, ch. 3 n. 30 , ch. 5 89, 109, 123, 137, 139, 189, nn. 47, 49; theo ry ch. 4 n. of 15; and top­ down perception ch. 2 n. 46; in The 32; connection to human activ 85; construed broadly and narities Wrong MIln ch. 4 nn. 6, 8 106; conventions of camera wro ly Metz, Christian 5, 11, 64, 94, 95, 122 plac eme nt 70; degrees of 148, 159, ch. 1 nn. 11, 26, perceptibility 206, nn. 5, 17, 55, ch. 3 nn 6 2547, chch. 4i nn ch. 4 n. 22, ch. 5 14, 15; and diegesis 36; in nn. 15, 83, ch. 5 nn 20, Sa, cit. ;; d ocumentary nn. 8, 17, 21. ch. 7 nn. 4, 32 2m-S; effaced 89, 109; and epistemological Meyer, Bonnie ].F. ch. 1 n. 22 boundaries xi. 71, 86, 95, 96, 1 05, n.

nn.

.

a

.

.

.

316

INDEX

111, 164, 166, 124; as

158; and character 158; and exclusion 82, consciousness 46; consistency among 96, 98, 105, 1 13-14, 158, five operations flow 161. 170, 173, 205-6; as description of knowledge 82; general definitions 18, 76, 96, 111-12, ch. 6 112; in documentary 204-6; eight n. 12; in The Girl and Her Trust 21-2, levels 86-7; and epistemology 103; hierarchy 103, 111. ch. 6 n. 8; 23, 24, 31; as h�egetic inconsistency among levels in Letter exclusion 190; hyper- and hypo­ restriction of knowledge ch. 4 n. 32; from an Unknown Woman 177, 190-1; interpretation of 96, 97, implicit 75, 90-1, 94-5, 96, 99, 143, 99-100; as nonhierarchical l13-14; 162-3. 177, 182; impossible 166-7; and omniscience 115; and point of as intermittent knOWledge 69; view 115, ch. 4 n. 62; as procedure intrusive 89; kinds of knowing 113; pyramid of 139; as 72-3, 76; and knowledge xii, ch. 1 segmentation 113; as set of n. 60, ch. 4 n. 32; as mediation probabilities 113; simultaneity of among "four films" 85; in 95, 96, 104, 105, 113-14, 138, 170, melodrama 67; as method of knowing 83; methods of analysis of 173, ISO, 181, 189, ch. 4 30; transgression of the boundaries 73, 75-6, 169-70; and music 35, 44, between levels 104-5, ch. 4 n. 32 9fr.7, 104, 137, 140; and narrative schema 18, 31-2, 86; not narration, third-person 51, 81, 107, determined by bottom-up 168; see also objectivity categories 38, 69, 70, 71, 73, 82, narration, types of levels of 86-7, 140-1, 169; objective xi; parametric 104-5, 111-12, 166, 168-9, 176. ch. ch. 1 n. 55, ch. 5 n. 23; and point 4 nn 24, 33, ch. 6 n. 2. ch. 7 n. 48; of view 115; procedural in Citizen Knne 173-4; diegetic 95-6, knowledge 65, 66, 76; as process of 97, 99, 101, 102, 143; in thought 112; as restriction of documentary film �; externally knowledge 51, 67, 69, 71, 73, 80, focalized 101. 102, 103, 144, 174; 100, 1 12, 137, 139, 140, 157. 172; in extra-fictional 88-9, 90-1, 94, 96-7; Sans Soleil 209-11, 214; and shot! in Hanguver Square 125-40; historical reverse-shot 43-4; and spectacle 87-a, 89, 91; hyperdiegetic 189-90, subjunctive 81-2; subjective xi; ch. 1 n. 60; implied authorial see conditional 95, 1�, 167, 171; and implied author; implied diegetic see telephone 70-2; telling and invisible observer; implied extra­ showing 146-9; theories of 66, 76; fictional see implied author; three modes of lOS, ch. 4 n. 33; and internally focalized 101, 102, 103-4, time 69, 70, 72; transparency of 84; 157. 168-9, 173, 174, 179 ch. 5 n. and uncertainty 95, 100, 191; 53; in Lady in the Lake 142�; unconventional 72; also camera multifocalized 107; nondiegetic position; disparity of knowledge; 96-7, 99; nonfoca1ized 101. 102, hierarchy of knowledge; 107, 119, 143, ch. 4 n. 24. ch. 5 n. knowledge; knowing how; 20; objective and subjective 161-4; mystery; showing; speech; scenic xii, 147-a, 170, 171, 172, ch. 6 n. 3 see also scene; transgression surprise; suspense narration, classical 81, 139-40 between types ch. 4 n. 32; in Wild strlnoberries 104-5; in The Wrong narration, first-person 50-1, 81, 144, MIln 88-93, 95-104. 1 11-12, 164-9; 150-1, 164, 167-a, 169, 172, 173, see lliso discourae; historical present 205, ch. 6 n. 47; see also subjectivity tense; objectivity; subjectivity narration, levels of xi-xii, 31, 74, 76, narration and position 161. ch. 4 n. 58; alteration or infraction of ch. 4 n. 32; and camera camera position and narration

94, 124, 177, ISO, 182-5, 187, 191; as 94, 177; as

as

n.

.

as

as

see

camera

see

317

�

--

..

---

-

-

IND EX

INDEX narrative 1; argumentative form of 10-11; Barthes's definition 49-50; beginning of 4, ch. 1 n. 62; as both process and product 3; Brooks's definition ch. 1 n. 9; Carrol l's definition ch. 1 n. 22; as causal explanation ch. 4 n. 72; Chatman's definition 11; cognitive form of �20; and cognitive psychology x. xii; composed of existents and processes 5; composed of singular events 117-18, ch. 7 nn. Tl, 28; comprehensive definition 115-17, ch. 6 n. 8; and consciousness 12. ch. 1 nn. 1. 32; continuity 45. 47; criticism and interpretation 121; and culture 2, 25, 29; Danto's definition 117; as a delusion 117; as depiction of causal efficacy 9, 216-17; distinguished from fiction 1. 192; distinguished from nonnarra tive 1-2; as dream ch. 5 n. 30; dual focus of 8; ending of 20, 24, 115, 138, 143, ch. 1 nn. 62, 63; and epistemology ix-x, 94, 150; exchange/use value of 2-3; and film technique 48; general definitions 3, 4, 9, 19, 26, 36, 62, 192, 216-17; and generalization ch. 7 n. 27; Heath's definition 10; and history ISO, 153-5, ch. 7 n. 24; and knowledge xii, ch. 1 n. 60, ch. 4 n. 32; logical form of 5-7, 9, 12; Martin's definition ch. 1 n. 4; Melz's definition 11; middle of 187, ch. 4 n. 72; and mind ix-x, 3, 10, 12; minimal form of 11-12; and narra tion 65; natural ch. 1 n. 44; nonfictional ix-x; Polan'5 definition 153-4; pragmatic form of 8-12; Prince's definition 11; reconciles story and screen xi, 34, 39, 48, 62; remarkable facts about 14-16; in Sans Sokil 207, 216; simple 20, 23, 25; spatial form of 5; as symmetry 10, ch. 1 n. 62; Todorov's definition 4-5; as top-down perception 38-9, 61. 62, 140-1. 146; Ii« also causa1ity; schema, narrative; transformation narrative, dassical x, 30, 61, 74, 84,

97-8, 139-40, 141. 147, 149, 176,

185, ch. 1 n. 77, ch. 2 n . 26, ch. 6

N'lZhny, Vladimir ch. 5 n. 19 of nonfiction 136; comprehension 204-5; distinguished from fiction Tl; 192-3 196, 204-5, ch. 7 nn. 24. of narration as ex a-fictional level 24; 88-9; false nonfictions ch. 7 n. . not determined by bottom-up Sans Sokil perception ch. 7 n . 24; in ch. 201 202 207-8, 209, 212, 216, IIlso documentary; fiction 7 n 48; I, 4, 7-8, 19, 192, ch . . l tive nonnarra Saltll n. 52; and excess 34; in Sans

n. SO; Ii« IIlso chameleon text narrative, comprehension of 15, 46,

47-8, 61, 62, 64, 86, 94, 96, 100. 101, I ll, 157, 217; and deixis ch. 7 n. 27; distinguished from belief 192-3, 205, ch . 3 n. 8; and gaps 84, 85; and invisible observer 171-2; remarkable facts about 14-16; roles for reader 86; and screen time 148-9; as selective forgetting 83; ­ stages of 34-5; and style 120

Palmer, F.R. ch. 7 n. 26 4 n . 32 paralepsis and paralipsis ch. n. 55, ch. 1 ch. ation narr c metri para

tr

:

narrative, types of theories of: aims of theories 66, 117-18, 124, 125, 142, ISO, 159-61, ch. 6 n. 42, ch. 7 n. 19; communication theory of 121, 152, 153, 170; and concept of camera 157-60; drive theory of 122-4, 150-3, 155; and first/third person 164; holism theory of 156-7, 181, ch. 5 n. 50; plot theory of 118-19, 152; reception theory of

5 n. 23 . 6, 17 Parsons, Terence ch. 7 nn 1975) ch. 3 pl/S5tllgtr, The (Antonioni,

�

207-9, 216

n, as nons pecific reference Ii« fictio nonspecific reference; indefiniteness; reference nudeus 82

149; and objectivity 50, 94. 113, 144, 161-4, authorship 191; definition ch. 6 n. 12; and history 203; and and invisible observation 172; form of subjectivity SO, 161-4; verb al ch. 4 n. 33; Ii« also historic ­ present tense; narration, third person; perfect view 1 n. Old Mill, The (Disney, 1935) ch.

121-2, ISO, 152, 153, 157, 170-1, 202, ch. 4 n. 79; style theory of 119-21. 149, ch. 4 n. 77

narratized speech and thought ch. 4 n. 24 narratology ix, x, xi-xii, 12, 150, ch. 6 n. 42; and competence ix; psychonarratology 12 narrator 144, 146; as convenient label 85; covert ch. 4 n. 22; definition 105, 107, 109, Ill, ch. 4 n. 33; degrees of percepbbility 206, ch. 4 n. 22, ch. 5 nn. 14, 15; diegetic 95; in documentary 204-5; and focaIizer 102, 105; implicit 75; invisible 107, 167, 170; knowledge acquired by 74-5, ch . 2 n. 58, ch. 4 n. 32; as metaphor 110; nondiegetic 99; and scene 148, ch. 6 n. 3; spectator as narra tor 85; and time of telling 166-7 Nelles, WiIIiam ch. 4 nn. 35, 36 Nichols, Bill 38, 39, 154, ch. 2 nn. 12, 30, ch. 4 nn. 69, 82, ch. 5 n. 43, ch. 6 nn. 1, 3, 19, ch. 7 n. 46 Nichoison-Smith. Donald ch. 4 n. 87, ch. 5 n. 36 Nick Fury, Agmt of SHIELD 76-83, ch . 4 n. 28, ch. 5 n. 12 Nietzsche, Friedrich ch. 4 n. 49

n. 13

22, ch. 7 Pavel, Thomas G. ch. 1 n.

44

ch. 3 n . 6; omniscience 107, 172, 174, authorial 191; definition 115; phantasy omniscience effect 115; as 64; as type of intercutting 64, 71; also and uncertainty 94-5; see perfect view 180, 181, Ophuls, Max 19, 20, 34, 177, 191, ch. 1 n. 70, ch. 6 nn. 39, 48,

49, SO, 60

2 n. 17 order, spatial 36, 42-4, ch. 166-7. 162. 48, 36, oral order, temp en 213, ch. 2 n. 17; story and scre 40-2; as type of time 20; see Illso

transformation orientation IB, 21, 50, 99 to. ch. 4 n . Ortony, Andrew ch. 2 n.

48

n. 27 Oudart, Jean-Pierre ch. 2 ) ch. 3 Outrllgeous Fortullt (Hiller, 1987 n. 25

Ozu, Yasujiro

n. 69

ch. 2 nn. 16, 60, ch. 4

Pakula, Alan J. ch. 3 n . 16

318

---'---

-

---_. _ --

n. 17

n. 55 Penley, Constance ch. 2 tibility see filling in; - , icitness; invisibl�� narration degrees of perceptibility; transparent ch. 2 n. 10; perception: concept of 3, n. 62; see 4 . ch view of t poin and . n also top-