IV

73. Hayden White, The Content of the Form: Narrative Discourse and Historical Representation (Baltimore: Johns Hopkins Press, 1987), p. 24.
74. White, p. 6.
75. White, p. 7.
76. White, pp. 16 and 17.
77. Field, p. 56.
78. Jacques Derrida, "The Law of Genre," Glyph, no. 7, (1980).
79. In Todd Coleman, "The Story Structure Gurus," The Journal of the Writers Guild of America, West (June 1995), p. 20.
80. Jean-Luc Godard, Introduction une v ritable histoire du cin ma (Paris: Albatros, 1980), p. 44 (my translation).
81. Godard, Introduction, p. 57.
82. Olivier Assayas, "Du Sc nario achev au sc nario ouvert," Cahiers du Cin ma, no. 371 2 (May 1985) (my translation).
83. The term "dialogic" was coined by Mikhail Bakhtin. Read his seminal essay, The Dialogic Imagination, trans. Caryl Emerson and Michael Holquist (Austin: Univ. of Texas Press, 1981). David Bordwell used "Galilean" to define the polyphony of multiple speakers in Narration in the Fiction Film.
84. Quoted in Azlant, p. 254.
85. Quoted in Azlant, p. 154.
Chapter Five
Staging
1. Ingmar Bergman, quoted in Film Makers on Film Making: Statements on Their Art by Thirty Directors, ed. Harry M. Geduld (Bloomington: Indiana Univ. Press, 1967), p. 184.
2. Sergei Eisenstein, Selected Works: Writings 1922 34, trans. Richard Taylor (London: BFI, 1988), p. 13.
3. Maurice Merleau-Ponty, Signs, trans. Richard C. McCleary (Evanston: Northwestern Univ. Press, 1964), p. 19.
4. Alfred Hitchcock, quoted in Eric Sherman, Directing the Film: Film Directors on Their Art (Boston: Little Brown and Co., 1976), p. 143.

 



Film Production Theory2000
Film Production Theory2000
ISBN: N/A
EAN: N/A
Year: 2004
Pages: 126

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