NOTES TO PAGES I 7-2 I

5 Roland Barthes, "Introduction to the Structural Analysis of

Narratives," Image Music Text, ed. and trans. Stephen Heath (New
York: Hill and Wang, I977), I I2.
6. Ibid., 113.
7 Yuri Tynianov, "On the Foundations of Cinema," in Herbert
Eagle, ed., Russian Formalist Film Theory (Ann Arbor: University
of Michigan Slavic Publications, Ig8I), go-g1.
8. Boris Eichenbaum, "Problems of Cinema Stylis tics," in Eagle,
Russian Formalist Film Theory, 56-62.
g. Colin MacCabe, ]ames joyce and the Revolution of the Word
(London: Macmillan, I978), I3-I4.
IO. Colin MacCabe, "Realism and the Cinema: Notes on Some
Brechtian Theses," Screen IS, 2 (Summer I974): IO.
I I. Ibid. : I I.
I2. Colin MacCabe, "Theory and Film: Principles of Realism
and Pleasure," Screen I7, 3 (Autumn I976): I 1.
I3. Tarski, however, is concerned to show the possibility of a
semantic definition of truth by defining the referential dimensions
of formalized languages; he takes no notice of literary or fictional
discourse. See not only Tarski's "The Semantic Conception of
Truth and the Foundations of Semantics," journal of Philosophy
and Phenomenological Research 4 (I944): 34I-375 but also the
discussion in George D. Romanos, Quine and Analytic Philosophy:
The Language of Language (Cambridge: MIT Press, I983), I35I72.
I4. MacCabe, "Realism and the Cinema": I5.
I5. Roland Barthes, "Reponses," Tel Quel47 (Autumn I97I):
97
I6. See Geoffrey N. Leech and Michael H. Short, Style in Fiction: A Linguistic Introduction to Fictional Prose (London: Longman, Ig8I), 323.
I7. See David Lodge, "Middlemarch and the Idea of the Classic
Realist Text," in Arnold Kettle, ed., The Nineteenth-Century Novel:
Critical Essays and Documents, 2d ed. (London: Heinemann,
Ig8I), 2I8-231. Many ofMacCabe's generalizations are also challenged by the extent to which even "realistic" nineteenth-century
novelists like Scott, Austen, and Trollope indulge in parody,
reflexivity, and narrative devices which confess their own artificiality. For a discussion, see George Levine, The Realistic Imagination: English Fiction from Frankenstein to Lady Chatterley (Chicago: University of Chicago Press, Ig8I).
I 8. MacCabe, "Realism and the Cinema": 8.
I g. For a discussion of these registers, see Shlomith RimmonKenan, Narrative Fiction: Contemporary Poetics (London

341

Methuen, I983), I06-II6, and Leech and Short, Style in Fiction,

3I8-334
20. Catherine Belsey, who follows MacCabe's definition of' the
classic realist text, at least realizes this problem, but her solution is
draconian. According to her, Bleak House presents two discourses,
that of a third-person narrator and that of a first-person narrator;
they alternate and never become framed in a metalanguage. Belsey
suggests that there must then be a third discourse containing the
other two: a "privileged but literally unwritten discourse ... the
single and non-contradictory invisible discourse of the reader"
(Critical Practice [London: Methuen, Ig8o], 8o-8I). If discourse
can be literally unwritten, MacCabe's conception of discourse as a
textual entity collapses. And if the reader produces a discourse or
metalanguage, nothing stops us from positing many such entities,
each corresponding to a different critical interpretation of the work.
A discourse is, at least, a piece of text, and a reader's comprehension, however it may "unite" discourses, is not a piece of text.
21. For a thorough analysis of the poetics of quotation and
"direct speech" in narrative texts, see Meir Sternberg, "Point of
View and the Indirections of Direct Speech," Language and Style
I5, 2 (Spring Ig82): 67-II7. The passages most pertinent to MacCabe's argument are pp. I08-I I4.
22. M. M. Bakhtin, "Discourse in the Novel," in The Dialogic
Imagination: Four Essays, ed. Michael Holmquist, trans. Caryl
Emerson and Michael Holquist (Austin: University of Texas Press,
Ig8I), 366.
23. Ibid., 4I5-4I6.
24. For a comparable critique of MacCabe on this point, see
Mary Ann Doane, "The Dialogical Text: Filmic Irony and the
Spectator" (Ph.D. diss., University oflowa, I979), 73-77
25. MacCabe, "Realism and the Cinema": I 1.
26. Catherine Kerbrat-Orecchioni, L'enonciation: De la subjectivite dans le langage (Paris: Colin, Ig8o), 7
27. Emile Benveniste, "L'appareil formel de l'enonciation,"
Problemes delinguistique generale, Vol. 2 (Paris: Gallimard, I974),
8o-8s.
28. Kerbrat-Orecchioni, L'enonciation, 32.
29. Emile Benveniste, "Structure des relations de personne dans
le verbe," Problemes de linguistique generale (Paris: Gallimard,
Ig66), 242.
30. Ibid., 239.
31. Ibid., 241.
32. For a discussion of the structuralists' reworking of Benveniste, see Jonathan Culler, Structuralist Poetics: Structuralism,

344

NOTES TO PAGES

19. Hastie, "Schematic Principles in Human Memory": 4o-43.

20. Mandler and Johnson, "Remembrance of Things Parsed":
13o-13I ; Thorndyke, "Cognitive Structures in Comprehension
and Memory of Narrative Discourse": 79
21. Thorndyke, "Cognitive Structur es in Comprehension and
Memory of Narrative Discourse": 84-96.
. 22. Roland Barthes, "Action Sequences," in Joseph Strelka, ed.,
Patterns of Literary Style (University Park: Pennsylvania State
University Press, 1971), g. Whethe r these "concepts or labels"
necessarily involve natural language we do not know. For an interesting discussion, see Lawrence Crawford, "Actional Nameability and Filmic Narrativity: From Inner Speech to Identification,"
Quarterly Review of Film Studies 6, 3 (Summe r 1981): 265-277.
23. Boris Tomashevsky, "Thematics," in Lee T. Lemon and
Marion J. Reis, eds., Russian Formalist Criticism: Four Essays
(Lincoln: University of Nebraska Press, 1965), 78-87.
24. Teun A. van Dijk, "Cognitive Processing of Literary Discourse," Poetics Today I, 1-2 (1979): I53
25. Fodor, Modularity of Mind, 56-57.
26. Frederic C. Bartlett, Remembering: A Study in Experimental
and Social Psychology (Cambridge: Cambridge University Press,
I950), 205.
27. Meir Sternberg, Expositional Modes and Temporal Ordering in Fiction (Baltimore: Johns Hopkins University Press, 1978),
245-246. See also Edward Branigan, Point ofView in the Cinema:
A Theory of Narration in Classical Film (New York: Mouton,
I g84 ), 5o-56.
28. Roland Barthes, "Introduction to the Structural Analysis of
Narratives," Image Music Text, ed. and trans. Stephen Heath (New
York: Hill and Wang, I977), gi-97
29. Gombrich, Sense of Order; I o8.
30. Van Dijk, "Cognitive Processing of Literary Discourse": I 55
31. Sternberg, Expositional Modes and Temporal Ordering in
Fiction, 94
32. Viktor Shklovsky, "On the Connection between Devices of
Syuzhet Construction and General Stylistic Devices," Twentie th
Century Studies nos. 7/8 (December 1972): 54-61.
33,, Sternberg, Expositional Modes and Temporal Ordering in
Fiction, I77
34 Neisser, Cognition and Reality, 28.
35 See Leonard B. Meyer, Emotion and Meaning in Music
(Chicago: University of Chicago Press, I956), I3-42, and George
Mandler, Mind and Emotion (New York: John Wiley, I975), 65172.

34-50

36. Alfred H~tchcock, "Rear Window," in Albert J. Lavalley,

ed., Focus on Hitchcock (Englewood Cliffs, N.J.: Prentice-Hall,
I972), 45
37 Noel Carroll, "Toward a Theory of Film Suspense" Persistence of Vision no. 1 (Summe r 1984): 65-89.
38. Hitchcock, "Rear Window," 42 .
CHAPT ER

I. Sigmund Freud, "The Unconscious" (I9I5), in Collected

Papers, Vol. 4, ed. James Strachey (London: Hogarth Press, 1956),
106. On this point, see also Noel Carroll, "Address to the Heathen,"
October no. 23 (Winter Ig82): I3Q-I34
2. Vladimir Nizhny, Lessons with Eisenstein, trans. and ed. Ivor
Montagu and Jay Leyda (New York: Hill and Wang, Ig62), IIO.
3 See Aristotle, Poetics, commentary by D. W. Lucas (Oxford:
Clarendon Press, Ig68), 53-54, Ioo.
4 Yuri Tynianov, "Plot and Story-Line in the Cinema," Russian
Poetics in Translation 5 (I978): 20.
5 Since writing Chapters I-7 of David Bordwell, Janet Staiger,
and Kristin Thompson, The Classical Hollywood Cinema: Film
Style and Mode of Production to I96o (New York: Columbia University Press, I985), I have reconsidered the plot/story distinction.
There Chapter 2 asserted that plot (syuzhet) consists of "the totality
of formal and stylistic materials in the film," and Chapter 3 called
narration that aspect of plot which transmits story information.
This formulation now seems to me inadequate, both as a reading of
the Formalists and as an account of film form. For the reasons
presented in the present chapter, I take narration to be the allinclusive process which uses both syuzhet and style to cue spectators to construct afabula, or story. This revision of theoretical terms
does not seem to me to affect the analytical and descriptive claims I
make in The Classical Hollywood Cinema, but it does offer greater
theoretical precision.
6. Boris Tomashevsky, "Thematics," in Lee T. Lemon and Marion J. Reis, eds., Russian Formalist Criticism: Four Essays, (Lincoln: University of Nebraska Press, Ig65), 66-67.
7 My emphasis upon the fabula as an emergent spectatorial
construc t is characteristic of "late" Russian Formalist poetics; the
early writings of Shklovsky in particular tend to treat the fabula as a
preexist ent raw material for artistic elaboration. Nonetheless, at
times we must use the languag e of carpentry or sculpture in describing the syuzhet's operations. For the narrative artist does in

NOTES TO PAGES

some sense work "on" the fabula as he may assume that the
perceiver will construct it. In the previous chapter, I claimed that
the narrative film is so made as to encourage the spectator to
execute story-constructing activities. These activities can in turn
be presupposed by the filmmaker. For the artist, presenting a story
"out of" chronological order is just that: a transformation of that
arrangement which a spectator would presumably make when
presented with more "linear" cues. (Here a theoretical approach
emphasizing narrative as a structure overlaps with that treating
narration as a temporal activity.) The perceiver, given a narrative
text, is invited to recognize a syuzhet and infer a fabula from it,
whereas the artist constructs a syuzhet according to assumptions
about how the spectator could infer a fabula from it. And these
assumptions will form part of the artist's material.
8. Most Russian Formalist narrative theory assumes a distinction between syuzhet and style, as witnessed in the title of Viktor
Shklovsky's I9I9 essay, "On the Connection Between Devices of
Syuzhet Construction and General Stylistic Devices" (TwentiethCentury Studies nos. 7/8 [December I972]: 48-72). Although
Shklovsky believed that syuzhet construction and stylistic elements often parallel each other, he presupposed them to occupy
distinct domains. Boris Tomashevsky and Boris Eichenbaum also
held this view. More recently, both Meir Sternberg and Seymour
Chatman exclude style from the realm of the syuzhet. See Sternberg, Expositional Modes and Temporal Ordering in Fiction (Baltimore: Johns Hopkins University Press, I978), 34; and Chatman,
Story and Discourse: Narrative Structure in Fiction and Film
(Ithaca: Cornell University Press, I978), Io-I I, 24. Yuri Tynianov
speaks of the syuzhet as "the story's dynamics, composed of the
interactions of all the linkages of material (including the story as a
linkage of actions)-stylistic linkage, story linkage, etc." ("On the
Foundations of Cinema," in Herbert Eagle, ed., Russian Formalist
Film Theory [Ann Arbor: University of Michigan Slavic Publications, Ig8I], g6). The passage is cryptic, but it suggests that the
syuzhet includes both "story linkage" and style, in which case
Tynianov's conception would be structurally congruent with mine:
what I and others call "syuzhet," he calls "story linkage," and what
he calls "syuzhet" I call narration.
g. See p. 3 I, above.
IO. Sternberg, Expositional Modes and Temporal Ordering in
Fiction, 34
I I. Cf. Chatman, Story and Discourse, Ig-20; Gerard Genette,
Figures II (Paris: Seuil, Ig6g), 66.
I2. Tynianov, "Plot and Story-Line in the Cinema": 20.

50-65

345

I3. Roland Barthes, "The Third Meaning," Image Music Text,

trans. and ed. Stephen Heath (New York: Hill and Wang,
I977), 64.
14 Kristin Thompson, Ivan the Terrible: A Neoformalist Analysis (Princeton: Princeton University Press, Ig8I), 287-295.
IS. Ibid., 302.
I6. Sternberg's term "gap" does not coincide with the usage of
phenomenological theorists of narrative like Wolfgang Iser. For
Iser, a gap is any "indeterminate" portion of a text which calls forth
"a free play of interpretation" (':Indeterminacy and the Reader's
Response," in J. Hillis Miller, ed., Aspects of Narrative [New York:
Columbia University Press, I97I], II). He finds gaps between
action segments, between character thought and deed, between
different points of view. For Sternberg, however, gaps arise only
from the relation of syuzhet to fabula. I shall suggest that they are
usually quite determinate, especially given the canonic schemata of
story construction.
I7. Sternberg, Expositional Modes and Temporal Ordering in
Fiction, I6I-I62.
I 8. Ibid.' I2g.
Ig. Ibid., g8-gg.
20. Tzvetan Todorov, "La lecture comme construction," Les
genres du discours (Paris: Seuil, I978), 8g.
21. Edward Branigan, Point ofView in the Cinema: A Theory of
Narration and Subjectivity in Classical Film (New York: Mouton,
I984), 4D-49
22. Wayne Booth, The Rhetoric of Fiction (Chicago: University
of Chicago Press, Ig6I), 7I-75
23. Albert Laffay, Logique du cinema: Creation et spectacle
(Paris: Masson, I964), 81.
24. But not necessarily. The works of S. Y. Kuroda, Ann
Banfield, and others suggest that literary narration may be defined
by its inability to be taken as proceeding from a speaker. See Ann
Banfield, Unspeakable Sentences: Narration and Representation
in the Language of Fiction (London: Routledge and Kegan Paul,
Ig82).
25. Chatman, Story and Discourse, I47-I5I.

CHAPTER

I. Quoted in Peter Bogdanovich, The Cinema of H award Hawks

(New York: Museum of Modern Art Film Library, Ig62), 25.
2. We see Carroll Lundgren kill Joe Brody and the thug Canino

NOTES TO PAGES 65-100

kill Harry Jones. By the end of the film Marlowe learns that Owen
Taylor killed Arthur Geiger and Carmen Sternwood killed Sean
Regan. But who killed Taylor, the Sternwood chauffeur found
floating in the family Packard? Under Marlowe's questioning, Joe
Brody admits that he followed Taylor, knocked him out, and stole
the incriminating film. As he recounts this, Joe is notalvly evasive,
stammering and avoiding Marlowe's eyes. Marlowe accuses joe of
killing Taylor. Joe: "You can't prove I did it." Marlowe: "I don't
particularly want to." In the absence of competing candidates, and
given the laconic nature of this film, we must assume that Joe is the
culprit. He will be sleeping the big sleep in a moment anyhow.
3 Dorothy L. Sayers, Introduction, The Omnibus of Crime (Garden City, N.Y.: Garden City Publishing Company, 1929), 33
4 Ibid., 34-36.
5 Raymond Chandler, The Big Sleep (New York: Ballantine,
1972), 20-21.
6. Daniel Gerould, "Russian Formalist Theories of Melodrama,"
Journal of American Culture 1, 1 (Spring 1978): 16.

CHAPTER

1. Julian Hochberg and Virginia Brooks, "The Perception of

Motion Pictures,". in Handbook of Perception, Vol. 10: Perceptual
Ecology, ed. Edward C. Carterette and Morton P. Friedman (New
York: Academic Press, 1978), 286--288. For a general orientation to
this approach see J, S. Bruner, "On Perceptual Readiness,"
Psychological Review 64 (1957): 130-131.
2. R. L. Gregory, "A Speculative Account of Brain Function in
Terms of Probability and Induction," Concepts and Mechanisms of
Perception (New York: Scribner's, 1974), 526.
3 Jerome S. Bruner, Jacqueline J, Goodnow, and George A.
Austin, A Study ofThinking (New York: Wiley, 1956), 61.
4 Meir Sternberg, Expositional Modes and Temporal Ordering
in Fiction (Baltimore: Johns Hopkins University Press, 1978), 17.
5 J, P. Simon, "Remarques sur Ia temporalite cinematographique dans les films diegetiques," in Dominique Chateau, Andre
Gardies, and Fran~ois Jost, eds., Cinemas de la modernite: Films,
theories (Paris: Klincksieck, 1981), 63.
6. My categories are drawn from Gerard Genette, Narrative
Discourse: An Essay in Method, trans. Jane E. Lewin (Ithaca:
Cornell University Press, 1g8o), 33-160.
My debt to Genette ought not, however, to blur the theoretical
differences between our approaches. Genette's temporal categories

pertain to the difference between histoire and recit, and these

terms are not quite congruent with the fabula/syuzhet pair. To take
the most significant difference, Genette's recit designates ''the
discourse, oral or written, which tells [the story events]" -that is, it
constitutes the phenomenal text before us. (See Genette, Nouveau
discours du recit [Paris: Seuil, 1983], 10.) The syuzhet is a system
already at one remove from the phenomenal text. (See Chapter 4,
pp. 51-52.) Nonetheless, Genette's categories of temporal relations
hold good for the relations between narration (syuzhet plus style)
and the story narrated (fabula)-fortunately for me, since Genette's
discussion of time is one of the triumphs of contemporary poetics.
7 Chatman, Story and Discourse, 32.
8. The recounting/enactmen t distinction is not reducible to the
immemorial showing/telling split criticized by Edward Branigan.
He attacks the latter on the grounds that any narration's telling can
be regarded as a showing, and vice versa. (In effect, he is playing off
the mimetic and diegetic theories we have already considered.) But
I am not saying that the narration directly "tells": characters tell, or
recount; even if they "show" a videotape of prior events. See Branigan, Point of View in the Cinema: A Theory of Narration and
Subjectivity in Classical Film (New York: Mouton, 1984), IgoIg6.
g. Noel Burch, Theory of Film Practice, trans. Helen R. Lane
(New York: Praeger, 1973), 5-7.
10. A "frame cut" (the term is Edward Branigan's) is a variant of
the match on action. It occurs when the match is made as the
moving object crosses a frame line and enters a new shot. For
example, in classical Hollywood continuity, a man will walk out
frame right. Cut as the body crosses the frame line. The man walks
into the next shot, his body now crossing the left frame line. For a
discussion of this editing device, see David Bordwell, Janet Staiger,
and Kristin Thompson, The Classical Hollywood Cinema: Film
Style and Mode of Production to Ig6o (New York: Columbia University Press, 1985), Chap. 5

CHAPTER

1. For reviews of these theories, see MargaretA. Hagen, "A New

Theory of the Psychology of Representational Art," in C. F. Nodine
and D. F. Fisher, eds., Perception and Pictorial Representation
(New York: Holt, Rinehart, and Winston, 1979), 196--212; and
Julian Hochberg, "Art and Perception," in Handbook of Perception,

350

NOT ES TO PAG ES I

g. Thierry Kuntze!, "The Film-Work, 2," Came

ra Obscura no. 5
(Ig8o): 25.
10. Parker Tyler, The Hollywood Hallucinat
ion (New York:
Simon and Schuster, I970), I77.
I I. Meir Sternberg, Expositional Modes and
Temporal Ordering in Fiction (Baltimore: John s Hopkins Univ
ersity Press, I978),
I78.
I2. See Richard Dyer, Stars (London: Britis
h Film Institute,
I979), 65, and David Bordwell, "Happily Ever
After, Part II," in The
Velvet Light Trap no. I9 (Ig82 ): 2-7.
I3. Bertolt Brecht, Collected Plays, Vol. 2, ed.
Ralph Manheim
and John Willett (New York: Vintage, I977),
331.
14 Vale, Technique of Screenplay Writing, 81.
IS. Jean-Paul Sartre, "Quand Hollywood veut
faire penser,"
L'ecran fram;ais no. 5 (3 August I945): 3
I6. I borrow the term from Seymour Chatman,
Story and Discourse: Narrative Struc ture in Fiction and Film
(Ithaca: Cornell
University Press, I978), I03.
I7. A. Lindsley Lane, "The Camera's Omniscie
nt Eye," American Cinematographer I6, 3 (March I935):
95
I 8. The clearest statement of the "invisible obser
ver" notion is to
be found in V. I. Pudovkin, Film Technique
(New York: Grove,
Ig6o), 67-71.
I g. Andre Bazin, Wha t Is Cinema? trans. Hugh
Gray (Berkeley:
University of California Press, I967): 32.
20. See Hal Herman, "Motion Picture Art
Director," American
Cinematographer 28, I I (November I947):
396-.-397, 4I6-4 17;
Herman Blumenthal; "Cardboard Counterpa
rt of the Motion Picture Setting," Production Design 2, I (Janu ary
I952): I6-2 I.
21. Susan Rubin Suleiman, Auth orita rian Fictio
ns: The Ideological Novel as a Liter ary Genre (New York:
Columbia University
Press, I983), IS9- I7I.
22. Herb Lightman, "The Subjective Camera,"
American Cinematographer 27, 2 (February 1946): 46, 66--6
7.
23. Yuri Tynianov, "Fundamentals of the Cine
ma," in Christopher Williams, ed., Realism in the Cinema
(London: Routledge
and Kegan Paul, Ig8o), I49 I have modified
this translation by
substituting "syuzhet" for "plot."
24. Peter Bogdanovich, Alan Dwan (Berkeley:
University of
California Press, I970), 86.
25. Quoted in Thomas Elsaesser, "Why Holly
wood," Monogram
no. I (April I97I ): 8.
26. Because norms are guidelines that rank optio
ns probabilistically, we ought not to be too quick to disclose
"transgressions" of

S8- I 66

classical style. For instance, Peter Lehman claim

s that subjective
framings of a character's to-camera stare in Dr.
Jekyll and Mr. Hyde
(1932) are "quite at odds with the usual Holly
wood paradigm." Yet
optical point-of-view shots are not forbidden by
classical protocols;
they are just less likely than other alternatives.
Similarly, Lehman
points out a discontinuity when Jekyll leaves
an establishing shot
and supposedly turns his back; cut to Ivy looki
ng at the camera and
tossing a garter at it. I would suggest three thing
s here. First, the
cues seem ambiguous as to whet her Jekyll in fact
turns his back; he
could still be watching offscreen. A later shot,
of his feet turned
toward Ivy as the garter iands before him, reinf
orces some such
spatial hypothesis. Second, the playfulness
of the point-of-view
pattern is not unlike the whimsical jugglings
of space in Lubitsch
and other innovative classical directors. Final
ly, we should recall
that Dr. Jekyll and Mr. Hyde begins with a lengt
hy traveling shot
from Jekyll's optical point of view, before we have
been introduced
to the character. Optical subjectivity thus cons
titutes an important
part of the film's intrinsic norm. One could argue
that Ivy's glance
into an ambivalent offscreen eye simply plays
with this norm. See
Peter Lehman, "Looking at Ivy Looking at Us
Looking at Her: The
Camera and the Garter," Wide Angle 5, 3 (Ig83
): 59-63.
i7. "There are, of course, periods tending
toward maximally
attainable harmony and stability; they are usual
ly called periods of
classicism." Jan Mukafovsky, "The Aesthetic
Norm," Structure,
Sign, and Function, trans. and ed. John Burb
ank and Peter Steiner
(New Haven: Yale University Press, I978), 54
28. Frances Marion, How to Write and Sell
Film Stories (New
York: Covici-Friede, I937 ) I44
29. Richard Mealand, "Hollywoodunit," in
Howard Haycraft,
ed., The Art of the Mystery Story (New York:
Grosset and Dunlap,
1946), 300.
30. It is thus somewhat Inisleading for Vanc
e Kepley to assert
that the resta uran t scene in His Girl Frida
y creates "a shifting
cinematic space not unlike what Burch finds
in Ivan the Terrible
and what other theorists find in such non-c
lass!cal directors as
Ozu." Eisenstein and Ozu make mismatches more
prominent than
does Hawks. The point is not that Hawks's
scene has no spatial
incompatibilities, but that the classical spectator
is simply cued to
overlook them. See Vance Kepley, Jr., "Spatial
Articulation in the
Cla$sical Cinema: A Scene From His Girl Frida
y," Wide Angle 5, 3
(Ig83 ): so--s8.
31. Sternberg, Expositional Modes and Temp
oral Ordering in
Fiction, 71.
32. Michele Lagny, Marie-Claire Ropars, a.l'Jd
Pierre Sorlin,

NOTES TO PAGES 166-22 5

"Analyse d'un ensemble filmique extensible: Les films fran<;:ais des

anm3es 30," in J. Aumont and J. L. Leutrat, eds., Theorie duftlm
(Paris: Albatros, 1g8o), 132-164.
33 Noel Burch, "Fritz Lang: German Period," in Cinema: A
Critical Dictionary, Vol. 2, ed. Richard Roud (New York: Viking,
1g8o), 583-588.
34 Sternberg, Expositional Modes and Temporal Ordering in
Fiction, 20-26.
35. Frederick Palmer, Photoplay Writing (Los Angeles: Palmer
Photoplay Corporation, 1921), 29.
36. Ibid., g.
37 Fran<;:ois Truffaut, The Films in My Life, trans. Leonard
Mayhew (New York: Simon and Schuster, 1978), 53
38. For another example, see the discussion ofVampy r in David
Bordwell, The Films ofCarl-Theodor Dreyer (Berkeley: University
of California Press, 1981), 97-109.
39 Tyler, Hollywood Hallucination, 55 It is important to note
the extent to which such a sequence represents a vulgarization of
the Soviet concept of montage, resulting from complicated historical causes. A crucial stylistic effect was Hollywood's use of the
dissolve and superimposition to soften the pictorial conflicts that
Soviet montage sought to maximize. The rise of montage sequences thus encouraged the development of sophisticated optical
printing equipment.
40. Herb A. Lightman, "The Magic of Montage," American
Cinematographer 30, 10 (October 1949): 361.
41. On this distinction, see Chatman, Story and Discourse,
68-72.
42. Louis Marcorelles, "His Girl Friday," Cahiers.du cinema no.
139 (January 1963): 29.
43 See David Bordwell and Kristin Thompson, Film Art: An
Introduction (Reading, Mass.: Addison-Wesley, 1979), 234-239.
44 Fred J. Balshofer and Arthur C. Miller, One Reel a Week
(Berkeley: University of California Press, 1967), 192.
45 Quoted in Donald Chase, Filmmaking: The Collaborative
Art (Boston: Little, Brown, 1975), 44
46. Michel Butor, Passing Time, trans. Jean Stewart (New York:
Simon and Schuster, Ig6o), 179.
47 See Charles G. Clarke, '"Practical Filming Techniques for
Three-Dimension and Wide-Screen Motion Pictures," American
Cinematographer 34,3 (March 1953): 138; Clarke, "CinemaScope
Techniques," International Photographer 27 (1955): II-12;
Gayne Rescher, "Wide Angle Problems in Wide Screen Cinematography," American Cinematographer 37, 4 (May 1956): 301-

351

302, 322-323.
48. Fran<;:ois Truffaut, "En avoir plein la vue," Cahiers du cinema no. 25 (August 1953): 22-23.
49 Clarke, "CinemaScope Techniques": 362.
so. Leon Shamroy, "Filming the Big Dimension," American
Cinematographer 34, 5 (May 1953): 232.
51. Clarke, "CinemaScope Techniques": 362.
52. Michel Mardore, "Vingt ans apres," Cahiers du cinema no.
172 (November 1965): 30.
53 Quoted in Robert Carringer and Barry Sabath, Ernst
Lubitsch: A Guide to References and Resources (Boston: G. K. Hall,
1978), 23.
54 See Leonard B. Meyer, "Toward A Theory of Style," in Berel
Lang, ed., The Concept of Style (State College, Pa.: University of
Pennsylvania Press, _1979), 27.

CHAPTE R 10

1. Marcel Martin, "Les voies de l'authenticite," Cinema 66 no.

104 (March 1966): 52-79.
2. Andre Bazin, What Is Cinema?, Vol. 2, trans. Hugh Gray
(Berkeley: University of California Press, 1971), 35
3 Andre Bazin, What 'ls Cinema? trans. Hugh Gray (Berkeley:
University of California Press, 1967), 134.
4 Horst Ruthrof, The Reader's Construction of Narrative (London: Routledge and Kegan Paul, 1981), 102.
5 Edward Branigan, Point of View in the Cinema: A Theory of
Narration and Subjectivity in Classical Film (New York: Mouton,
1984), 73-J42.
6. V. V. Ivanov, "Functions and Categories of Film Language,"
Russian Poetics in Translati on 8(1981): 33-35
7 V. F. Perkins, Film as Film (New York: Penguin, 1972), 149.
8. Marie-Claire Ropars-Wuillemnier, "Fonction du montage
dans la constitution du recit au cinema," Revue des sciences
humaines no. 141 (January -March 1971): 51
g. Veronica Forrest-Thomson, Poetic Artifice (Manchester:
Manches ter University Press, 1978), 53
10. Quoted in Robert Benayoun, Alain Resnais: Arpenteur de
l'imaginaire (Paris: Stock, 1g8o), 224.
I 1. Meir Sternberg, Expositional Modes and Temporal Ordering in Fiction (Baltimore: Johns Hopkins University Press, 1978),
gg-IOg.