| | | | | 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. | | | | | | | | | 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. | | | | |