Point of View in the Cinema
eBook - PDF

Point of View in the Cinema

A Theory of Narration and Subjectivity in Classical Film

  1. 262 pages
  2. English
  3. PDF
  4. Available on iOS & Android
eBook - PDF

Point of View in the Cinema

A Theory of Narration and Subjectivity in Classical Film

About this book

Branigan effectively criticizes the communication model of narration, a task long overdue in Anglo-American circles. The book brings out the extent to which mainstream mimetic theories have relied upon the elastic notion of an invisible, idealized observer, a convenient spook whom critics can summon up whenever they desire to "naturalize" style. The book also makes distinctions among types of subjectivity; after this, we will have much more precise ways of tracing the fluctuations among a character's vision, dreams, wishes, and so forth. Branigan also explains the necessity of distinguishing levels of narration.

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Yes, you can access Point of View in the Cinema by Edward Branigan in PDF and/or ePUB format, as well as other popular books in Languages & Linguistics & Linguistics. We have over one million books available in our catalogue for you to explore.

Table of contents

  1. Contents
  2. List of Figures
  3. Foreword by David Bordwell
  4. Acknowledgments
  5. Chapter 1 The Problem of Point of View
  6. 1. Narration and Narrative
  7. 2. Two Theories: Point of View as Perception and as Attitude
  8. 3. Point of View as Identification
  9. 4. Point of View as Language
  10. 5. Point of View as a Logic of Reading
  11. Chapter 2 Film as System
  12. Chapter 3 Narration
  13. 1. Narration as Symbolic Activity
  14. 2. Levels of Narration
  15. 3. Two Ways of Reading: By Error or by Hypothesis
  16. 4. Elements of Classical Representation
  17. 5. The Elements of Representation in Film
  18. Chapter 4 Subjectivity
  19. 1. Subjectivity as Narration
  20. 2. The Classification of Subjectivity into Types
  21. 3. Types of Subjectivity
  22. 4. Mental Process Narration
  23. 5. The Problem of Color and Sound
  24. Chapter 5 The Point-of-view Shot
  25. 1. The Elements of POV
  26. 2. The Framing of POV
  27. 3. A Repertory of Simple Structures
  28. Chapter 6 Character Reflection and Projection
  29. 1. Metaphorical Framing
  30. 2. Character Reflection
  31. 3. Character Projection
  32. Chapter 7 The Modern Text: Subjectivity under Siege from Fellini's 8 1/2 to Oshima's The Story of a Man Who Left His Will on Film
  33. 1. Origin: The Problem of Authorship
  34. 2. Vision: The Status of the Image
  35. 3. Time: The Relation of Narration and Narrative
  36. 4. Frame: The Relation of Spectator and Spectacle
  37. 5. Mind: Toward a Redefinition of Character
  38. Chapter 8 Metatheory
  39. 1. Empiricist Versus Rationalist Theories of Point of View and the Process of Embedding
  40. 2. Recent Approaches to Narration
  41. 3. Summary of My Theory of Narration
  42. 4. Some Functions of Narration
  43. Appendix Orthodox Theories of Narration
  44. 1. Orthodox Literary Theories of Point of View and a Fatal Distinction: Telling Versus Showing
  45. 2. Hugo Münsterberg and Film Psychology
  46. 3. André Bazin: Point of View as a Real Condition of Vision
  47. 4. The Categories of Jean Mitry
  48. 5. From Literature to Film: Narration as Consciousness
  49. Suggested Further Reading
  50. Index