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By Peter Lehman

In line with the belief that motion pictures are advanced cultural items and that any serious strategy merits from an exact engagement with textual gains, the 1st a part of this publication emphasizes formal research of narrative constitution, and the second one half issues the cultural research of flicks.

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The Nature of Narrative. New York: Oxford University Press, 1966. Special thanks to Bill Knapp of the Instructional Resources Center of St. Peter's College for help with the stills used in this chapter. Page 23 2 Persona: Facing the Mirror Together Dolores Burdick A film for me begins with something very vague. a brightly colored thread sticking out of the dark sack of the unconscious. If I begin to wind up this thread, a complete film will emerge. Ingmar Bergman1 By reversing Bergman's processby undoing the skein of his filmone ends up with any number of glowing threads leading back to cast light on the psyche of the reader.

Page 9 subordinated to the logic of the narrative. We seldom see space, for example, that we cannot situate in relation to the film's characters. A character may be seen in the space or may be looking at it, and the linkage is generally quite clear. Objects are similarly subordinated to narrative causality. , in the unravelling of the enigma). Yet in There Was a Father, Ozu does cut to a coatrack to begin a sequence in a go-parlor, without ever drawing the hats or the space of the rack into the narrative action" (1976, 46).

Ed. The Maltese Falcon. New York: Universe, 1974. Behlmer, Rudy. America's Favorite Movies: Behind the Scenes. , 1982, 13553. Naremore, James. " Literature/Film Quarterly (July 1973): 23949. Page 22 Narrative Structure Andrew, Dudley. Concepts in Film Theory. New York: Oxford University Press, 1984, 7595. Barthes, Roland. S/Z: An Essay. Translated by Richard Miller. New York: Hill and Wang, 1974. Bordwell, David. Narration in the Fiction Film. Madison: University of Wisconsin Press, 1985. Bordwell, David, Janet Staiger, and Kristin Thompson.

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