Subjective Techniques in Feature Films
Abstract
The author starts with the first attempts present in the early cinema to present events from the perspective of film characters, giving the rise to subjective techniques in film. Then he points to literary origins of filtering narrative information through the narrator and focalizator. He briefly outlines Gérard Genette’s ideas on narrative and the development of film studies theories on film subjectivism, in particular significant contributions from David Bordwell, Edward Branigan and Seymour Chatman. After succinct characteristics of subjectivity in classical and modern cinema, the author points out three new ways of making narratives subjective in contemporary cinema. The first is related to the phenomenon of unreliable narrative, the other two (first- and third-person narrative, so called semi-subjective narrative) refer to the aesthetics of computer games.
Keywords:
Gérard Genette, subjectivization, focalizationReferences
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Authors
Jacek Ostaszewskikwartalnik.filmowy@ispan.pl
Jagiellonian University Poland
Dr hab., profesor Uniwersytetu Jagiellońskiego; jako teoretyk filmu opublikował monografię Film i poznanie: Wprowadzenie do kognitywnej teorii filmu (1999) oraz Rozumienie opowiadania filmowego (1999). Jest redaktorem antologii Kognitywna teoria filmu (1999), współautorem (z Alicją Helman) podręcznika Historia myśli filmowej (2007) oraz współredaktorem (z Alicją Helman) antologii Film: Język - Rzeczywistość - Osoba (1992). Obecnie zajmuje się zagadnieniami narracji filmowej.
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