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Seeing Fictions in Film - The Epistemology of Movies (Hardcover)
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Seeing Fictions in Film - The Epistemology of Movies (Hardcover)
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In works of literary fiction, it is a part of the fiction that the
words of the text are being recounted by some work-internal
"voice": the literary narrator. One can ask similarly whether the
story in movies is told in sights and sounds by a work-internal
subjectivity that orchestrates them: a cinematic narrator. George
M. Wilson argues that movies do involve a fictional recounting (an
audio-visual narration) in terms of the movie's sound and image
track. Viewers are usually prompted to imagine seeing the items and
events in the movie's fictional world and to imagine hearing the
associated fictional sounds. However, it is much less clear that
the cinematic narration must be imagined as the product of some
kind of "narrator" -- of a work-internal agent of the narration.
Wilson goes on to examine the further question whether viewers
imagine seeing the fictional world face-to-face or whether they
imagine seeing it through some kind of work-internal mediation. It
is a key contention of this book that only the second of these
alternatives allows one to give a coherent account of what we do
and do not imagine about what we are seeing on the screen. Having
provided a partial account of the foundations of film narration,
the final chapters explore the ways in which certain complex
strategies of cinematic narration are executed in three exemplary
films: David Fincher's Fight Club, von Sternberg's The Scarlet
Empress, and the Coen brothers' The Man Who Wasn'tThere.
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