christian metz_ the modern cinema and narrativity

translletz C 1974 The modern cinema and narratlvity Language ~J

11 Taylor Oxford Uniyersity Press New York

8 The Modern Cinema and Narrativity

I

A deep pennancnt ambiguity L1nderlie~ the definition of the modshy

ern cinema Jt is often suggested and son]tillles even aJJinmxL that

tIle young cinema or the new cinema h1S

that dll modern film is lt1n absolute ObJect a

lws

work (0 be read in any direction allll that it has thrown off nlrrashy

the earmark of the classical fllm This is the preat n-pUlllent or the breakdowll of

nnf_lEni under a

frolll a deblte

For Ren6

which dclilled JVlarshy

ill turn associated with

Pierre Billard it was the idea of a more direct approach to realitv a

certain type of fUl1danlCl1tal realism which would morc or less Jis

place the old narrative hahits4 For

ema or

was a 111m-maKer S c111(111a which has takcn the place of thc

writers cincma6 Or it as a cincllla of the shot rCDlacin[1 the

185

186 THE 1IODERN CINEMA SOME TllEORET1CAL PHOBU2llS

directly narrative cinema where Olle galloped from shot to shot

ehe jllardore)7 Or finally it was a CillellJltl of Freedom open to Illulshya (inem] or contempJatiull and ohjcctivity which

authoritarian concatenatiolls of the classical film the theater substituting wise ell presellce for mise ell

who has rclleeted with

greal IHCClSIUIl Oil

cinem1 of pl)etrv silllulia

l1luativc

Finally for ill or the~( critics tbe recent pcriod has witnessed the

of a free eincllll ltl cincml perlllancntly 1ibcflttl([ fmlll the Sllp

rilles 0(

clCCOU III 0[

()r the movie spectacle in fmoJ

~()g( (rLlffaut) rejection of the too illlpcccahlc

ruILILlt aglill) rejection (IF the to() evident signlt that do violence

tu the allllligllity of fcllity CBai rejcctioil ()f the pseu(]oWlltactic

arsend dln t() the old theorctici111 S (Leell1wnIt) rejecti()1l of d IC

1S well as I he lIIuvic spectltk ill favur of a cinshy

d(crilllfCl a docile mel Hcxihle lllell1S of

JIv purpose ill tllis text is not III take up arllls my Olle 01

the(middot ltlllalyses~cspelidl) since cadI one of thclIl contains to my IlIlnd I grcll deal of truth~bl1l rather to confronl by Illlm of a

sliccessive (and never total) questioning of these different

a great libcrt(friall lIIyth which is nul fully cxpressed ill my olle of

the analvses bUl which underlies diem all mel aclt]lles them all (exshy

theatrical and hv extension fdmic term for the the crealio1 f lOts and til( 1 a

n more direct

THE MODEBN CINEMA AND NATIRATIVITY

cepl for the ideas of Pier Paolo raise difshyfcren t though lela ted I)roblcms will

Let 1I1e be clear 1lHse analyses I am about to (lllcstiull have the

gol mel the effect of supporting lilms that J like films that I still

view withollt boredom They art decply linked to the grldllll risc

and cventual t1iU11]])11-at least fur largc of the cultivated

cinema that is alilc toLla yen- Tu ignore Jeltln

10 excludc oJ]cself

able [0 aceOllllt fur tructurally----that in every period Jill] for every art the

lIord IS diversified as it may be is n(vcrtheless to he rOLlnd ill 1 sillshy

gle locus And even j I th is loclls GIl1 ll first he ]ec()gni7tlJ only hy t b(

it ra(lilt1tcs~glill1tl1cril1gs thM hcc()Jl1t larger llllj l110re

intense IS we lppn aell thei r SOil rcc~ it is dOll htles his pri Illl (vi

Ii [sl (xDcliencvli in Ihe (JlIotiulwl

our rellcctJoll incc

of this rdlcdioJ1 is to reduce the distall(( inili11 ellorlllOUS COll1l1Wllphlcc Illd Listressl I he emol iun or the CI

viction hom its clarilicatioJ1 the or 1i lin from its 1]]eta ]111shy

gUlge lIorcOHI one IIlLlst1]nt forget t1wt a critic is llCITr altogllhel

a theoretician but that he is dways something (II I miliulJl 111(1 tlmt

two cinenls left that call iutcrcsl liS

cillClIla to which t1~is article devoted lhe American

uninlcllcctual it lingers on

ftell in the form or the vanls1er [ihn

t) lt)

a great cinema a cinema without problems where onc was ncver bored The sllcC(si()n~to the extent that it is llo1 taken tip by the living cinema will one fean be assumed by a cinema burdened with ideologics anti dubiolls gOl)(1 will

Potato T1ro 10lt10 Dapid allll Lisa intellectual fIlms replete- with intentiolls based Oil the ielea that art cnl1 reach the human by elishy

wlwreas it can unly attnin it after a speCific cletour~nt any rate in like our own

188 THE MODEHN CINEMA SOIF TllEOnETICAL PROBLEMS

purpose is not to fi Il11s but also to he to this extent one eaJl say that cinshy

ema is

Nevertheless one will indeed one lmc to unuertl ke the theoshy

rctical it is on thlt1t level

if not 1]) the

at least 10 tlla

which too oFten lInderlies thelll

II

First remark agrees ill the new cinCIlll no- dc

lined bv the hlct tlla t it has beyond or rejecteu or hrukcll

hut the of thM slllllclhing---whcthcr spccshy

inflexihle significatioll devices of the script writer etc --varies considerahly frOill critic tt) critic as I

Iried to -ohmv in tbe hrieF summary or their ideas It dl( heginning or tllis text

VEATII of 1111 SPCTACU2 The c()ncept of the Slxcllcle has a

certain Ippcal) hut it is not tbe expression or In rigoruus though

Olle l11a tah il in its sociological scnse spectacle clJllltlls sociul

rill cllllsisling ill ~I Inllnan gathcring olielll(d townd a predominantly

vislId evellt In this (lSt 1 do not sec huw thc mudern 111m is ill any

way less of a specllteic than the tmtiitiolld lilm unci so the implied

rlvulutioll remains confined to the V()Cnblllan of the criliealmetahmshy

guagc 1m] doc 1101 affect the film ohjects for which it is supposeci to

aC((JUllt Did not the mrc as they were who were 1hlc to

sec -loris IOUS rtPlmflic1li at m lppnintcd hour It an insti shy

tutional place did they not pay for their scats J1ll1 tip the ushcr In

these crms ill tIuth it is not very dillicult to rCLnind the reader

the face of variolls cnthllsiaslic excesscs that the cinema will remain

a spectacle until olle forms of 111m distribution commershy

cialization and viewing that arc so ullusual that the method of imshy

leaps too asinvoked

THn IOIlEnN CINEM AND NAlmATIVITY

d Ihe variutioJ1S of the hearl) reminds us will

lip a valid llotion of them from what we IJrtsshy

To Sd that the modern CillCllW is I1U longeI a specLwk

in the luxury uf d chltll1ge that is in hct not a ckll1Yc

One may also take the conC(pl or spcc[lClc in a mUll pSlchologiC11

spectack is 111 essentinll vislId CTllt that PilSlllts

ilself to us in lllode (l excflwlity lntl In which VC IIT cllsli shy

tilted itn(ss( nut il tllis is so) wlwl pmlr spclllllc is thnc than i

IFolIl(1I is 17 H7oIl1l11l-1 III LIS iCClI (Ullllck SilllltitlJlCOllSJy undermincd

~IJld nourished b Ihe inlinilciv vlricd clrcets of sCIl-llrodv ami sl 1 IlIIlSicd cOlllldy

Th(ll is 11 dllllhl 11111 nOlwislial (ami vcrhal- 1shy

liers He 111U1l imp(lrtanl than cn ill the lllodern CilHllll that- -ahov(

lllthev 11]c ceased to he Ishalllcd or tiHJllsclns (le ill the

wllell iJlllt 1Ililvils were 10 all (lld neilL Clairs SUII luils Ie ins Horlcrn TilllcL or on

111

tnll hetter thm

he COIlClpt or clt Illlrihut il I

he In spcc1l-

1llfC spcdClclls

to deflnc Whlt the

nature thcrc[orl the CIlllccpl

ill the (IUlstion thaI COnCe111S us

DEATH 01 TlIl TlJEATEll Is it therefore the tllGllf er from which

the young cinema has heen FrectI That iSllt the case eirherFof beshy

fore cmtinuillg olle would to llsk Vhilt theater Jnd what cinshy

ema There hilS always been rI b8c1 cinema copied Fwm a had thelter

It alrerldy existed i 11 dlC age of the silent films mel despite Ihe silence

T I

190 THE 110DElN CINEllA SOME TllEOHETICAL rTIOBLEMS

since the advent or thc talking fillll we have bad the psychological comcdy and the dralllatic l(ll1lcdy--not tu be confused with the nllrican comedy-and they me still with llS To

mention unly the rrench cinema-which is admittedly particularly

favored ill r(sneet many hundreds of ] Illls have we not

to the genres rcci pe thc cake mix

or entertainmen tl Imiddot

II thc llludem cinema has tu a exten t freed itseH

from 111 while doing so avoid IJolllclanl I- (11shy

rather than tbe theatef and the grclt Ii Ims of the past

were ahle t() avuid it just as well a tiel Flaherty tl

be sure bUI also in a Hfy difrerent wav Eisenstein

t on the cOJllrary the good thcatcr and the IS

IlI111hing of nut how CJ11 one forget thal

) lJ1d

man VI$COJIll) vne mell til the theater in the full SlI1~C of the terlJJ

How can one forget all t1ut 1I iaill Hcsnais or ltIll

(0 the so called dWaler of distallce (thecire de la IiS((ICUltlOl) as

-em Carta has 511 revealedO Hovv can onc that evcryshy

of illlportance ill the thcater of is as far rClIJOcd froll1 the

practicc~ or clabowc intriglle as arc the film of Milos hlflllan

Bozier or Jcall Bouch And iF olle loob at the

Here j the fur the psychological (ur dWJIlalie

d )ciell)

etc 2 Olle PIrt

invents hut lim out to han

3 A dash or lrilliant 4 A few mmbers presence of

Mrs E F dnd Mr 1) 5 A touch of the nude vulgarity

melodrama and marital)

THE ]()DEI1N CINEMA INU NAHIIATIVITY 19 1

from a wider perspective if following the of certaill theoreti

dans of tile cinema 11 or of the theater - one

takes the position that the theater is oPI)osed to the epic to the

nove] tlHlt scculiir epic) a~ a Ilction caught in and in its cirshy

cllmstantial thrust is in contrast to that same fiction relHed in words

are not those of the proLIgonists one vill indeed have to conshy

clude that the CillCllW altllOugh an art very difFercllt From the theashy

ter is nevertheless not on the pojLlt-~ulllcss its nlture changes radishy

brcahng till very app~lrent ami basic hond that links it to

theater No lIlore than tile distinction between the spectacle

alld the nonspce[lcle willthc distinctioll hetween the thClll] and

the llolltlteater allow us to establish uur preferellces ill theon so

that we can uncerstallll Illore deadv middotwhv we like what we like or

wlwt is new about the Ilew (il1el11a

THE CINEMA OF IMPTIOVlSATION Is the answCJ I that the new cinema is a cincma of improvisation BUI there arc n Lll11efOllS

modern films that fall outside of this definitioll from Knife in 1111

lVaer to JlIles ll1ul Jilll passing through the works of Orson Dcwy llain Resl1ais etc It is true that whell he proposed

i1iehd Mardorc was cnrcful to 1]1ply it ollly to one

of the modem cinema hilt the idea is Clluel1l ltlnd one often

hears it expressed 1 IIllich more vanue and uCllcral way itb b

devoteltl to escribc

life under

OIle

cannot agree wil h twu forms among other 1dlnUI1S de Provence [(jG6 a book cler the title Cincmuturgic de Paris in 19(5 issue 011 Pmmol and Sacha to PI 43~44middot

P 111pound J[Ol1En C1NBMA SOjlE THEOHET1CJL lnODLEIS

only-alld cyell t11ell with some reservations-on the 01lC

Iwud til Jean-tnc Cudmd (bUl the man we know has a touch of enius mel ltcniLls is 1110rCUer it illljJlltJvilS Iiib gredl -1

CillClll1-ci 11( ui 711

is 1 dcnlllldil1(~ 115k 11lIS[Cr) 1lld (Ill the uther hlIld II) a 11ltll1lwr ()I

tCIlccIllics rchled to the dllellill direct its hroldest scnse tend-

C]1l]( for a

stlges oj 1

Claude Livi-Straus (lllt t rtllllrhdY The illshy

cinello ilired i too often the by-procilil or lazi

Ilotes lUI) oFtell it 1C11UUllCCS

(IF Ilw linishcd work witi1mlt

(11 Illsl IIlV 11101( t [lith [hlll 1 gJ()d d()CllIlllllLlf P)SshySlSSlS II is 11 ellough 101 IV Ih11 Illc orciillltlrv dirltTl fillll is 11111 pcrshy

fect ]1 il h1 -cal ii 11t1 evell htcil linisllld JIH] il is ll()1 jUl the histot) I 11]( lilllllll hUI till 11Iut hl~il Illtur (II till aesthelic h jccL ihllr lhlt will h1VL 10 Chlllgl 1)J()jflulldk hdulc l vvorl or afl is

ahll to ahsorb Ingc s(ltliolls oj Illtllll1S[orlllltl rcalilyilll() its own purshy

IlI)Slt l1d hcirc il (11 Iruths Iiln thall [he ()Ilt lrlIlspI-d 1lId rlrUrJllll lhM its illil PI l(cdlrcs hllc Jlut

lIl (II rlWh I he go)d hll

ill pillt it lctt ilqlJUyjsCls H is thl I()(w wher laziness ll1d till de

0 (iIeli direct itscll CltusI) m1 111(111lt1 tCIile (CIIJlli1111 1111 (k 1y lean lillIcl) hut ltIh the camlie[ Ill1Hl EIlII the Nlli)]))I [jIm lllrtl ltj

Calllllh ItlldcflCY speets 1 the sucliled f( Yor] d] or or Ih IiriliiJ free CillCllIil the lmcricCin icltllllclucuJI1Clltnies (LCleoC illlt JJilYslcs brthlrs tcmknLlcs u[ the televisiun (klein

All hvugll be spoke uf a Lll1Cll1(l ur middotJjlllnlfl(i )t inn lift in rull agreeIllent with the eilelfII direct much liLc H~) OWll But it is tbe COlllcpt 1[ thl cinema that seelllS ullclear to me

THE lIUnEHN CINElIA AND NilnnATlY1TY 93

each other

the

cil1(lI1a

TilE CINEilA 011 Is lhe allswer Bllt tllCTl arc no I(al dCld

~il1Cl a lilm is 1ll~1l1Ilraclllrll1Ilhi(lt on]v ill ]ik IIT

spaces 1l1011ICnl (Ill be dllll (llltld only ill JCLllioll

to Ill inter(~t The lifteellminute IvaiL hdnrc 1 decisive j IllCIIillV

hCCIUSI the pcrsoll J alll 10 s(c is Ill( is indccd a tind of dcad SplCl sincc it is 1](01 whetl I am ltlClltlillc III at the time But such

moments misc on]v hlClt1l1Slgt the OllUlTClllTS of life an nol

()llC ()I11 wi 11 tliey do nut ubey I he urge l() till akel ivc lrashyJ)(sI lIl which cOllsidercd most Jullillilw ( to flj)(at olle oi friclIlHgt

SOl ria lIS by an

as dead

of the iell al Wl S constructcd JIIinutes Ihe whole liFe ur till lilm Oldd he clJlltaincd ill dead spacc Th( (lilly Ical dCld spaces ill the cinclIlI arc the III dull 11111

whilc exlemal]v vicwer attcntioll whieh bccolllcs don Hmt it inllTllltdh the IlV condiliolls

fIJI Illlt tlcnd ~PCl- in life It is 011 the 1(ld oj culti)] 11lt is before the lilm lxishthal tile lkstill or till

dcad Sp~IlCS is dCtLrlllilllll Those Ihe lillll-lllakll lxplIicllCCS as

SIlCI arc hallisllld frolll the lilll1 and Ill willllc cr sec thcmmiddot-lor till likclill ill tbis respccl lilll IllIgt1 makc its choices or C()SC to cxist al

all Thw dl the lllonlellls th11 the Jilm-lllakcr has included in

I 1m wcre alivc cinema is a nCIV-and a prnfullllllll is lS lotwhat or a mcnt ill and it is J()t hased 011

dead innovation is 1l1

matter and Antonion] is far more

194 THE i

MODUHNH

CINE]IA ~OME TlIEOHETICAL PROBLEMS

hmmm substance of his films than became

excels in showing us the diffuse

I ife that Ire considered

most IlnpOrlltlllt U1mg about

the Cinel1111 (Nrect-is [hlt he was

skein of ltl mOle subtle Evell llIure

diem fro III that

S](ln

form of

fmc IlO Ijlll1 Or

very

llucve r

iricalcs of that shimlllering

he lost

He

ur

I iema I

itself 11 (srecls prullloshy

in the

widest scnse

cIlls 11 J(1Il Y

of the alTragc

dCCCll t dOllllllen taries

A FIlNDAIENTAL

TIlE ]IODERN CINEMA AND NARRATIVITY 95

contained a to

revert to a mythology that Jean NIitry hm rightly crHlClZCtl a my that conceals hehilld phenoIllenologica I

tial reidislll whose consequellce is the revival OJ] the level of the

of tl1il195 of the terroristic

noegt

in the name of am-aspects or Ildrc Bazins alld

Muniers theories It shuuld be noted illcidentally dwt ilichcl

11lt1rdorc Illd Pierre Bilhrd do llut conceive of he notion or realism in tlltH SCJlS( nor docs Mmccl some of It is (spresshyslOns

that 1 rc aJld tilL person

lor whUlll tlley me ill thl inelllctable adverse

I hell is

lcHlng cinema as 1 whole but rathcr 1 (erwin crazv

has sprung lip around the cilcllla verite the belief

(cnce or the illlge which is SOIl1e1lOw

as wclJ as-eVCIl as it lends

terns that the slightest dislocation

and

lei llalizcs

nol the

tll1t

Lind of in110shy

exempt from

discursive

introduces- shy

(oilled word derived from the Greek (01-lt0 Ccosmos) Hlllt] allELl ( to Thus it indicates the faculty to preshysen t the world in its entirety to show --TnANsLATOll

THE MODEHN CINE~I SOIE TllliORETlCAL PHOIlLEllS

from tbe enormous

of some

thcsinn terms 111 tile ell()rmou~

the few hcautiful alld the lllany botched works of the CilllIlW v()rile

one might recugnize I wayward slll and obstinale sister of the sel1lioshy

logicid appnKlch-at Icast iF the hitter is cOl1sidered in ils kilSl teclllli

cal aspccls and in its deepest ]tfecl in fOUlIlhlioll The is (me of distrust for bnglwge anJ Yunls i]Jeileillg C[llCSshy

Crcltcri in order t(J question the world spele11 it

[he ubicct ()l (jLlCSliolh fashiolled IS a lonl Im

it is heing asked 1l0VV to aCColillt for

of slispicioll mel l10hlc neurosis the

Incxshy

tnll discollrse is onh I true disc(lllISC the word COl1llt1iIlS I

than that which is conLlillcd ill ils cmJcc( ic usage

The cincllw 1eril( Ull the lolllr~lfy lltcllllts (0 Ioid (ilcoc diflicu (ies hy supp()sedly rejecting coherent di~colllSC mel the lise of iconic

atlls(ation (VCIl the spccch of the (flllll) llCHlCS is slljlPllSllIIU he 1I1lshy

IlltlSCCTlt--il is pint or the illllgc as iF it WlJl l)cing swept

vlsl circuit of villdl illJl()n~IHL Uhc prolifcra(i)ll 01 III

tcrvicws in tile cinclJliI-rcri( lillllS he1s no othcl SUllfcC It is a P]

thetic

InCOllllll- de Iii Ipoundrre

th11 havlt hel) 0111shy

~hltJll]d

whu lws problellls Iwo Iypes of ie1coiogy that of im1ge and wbich is a sort of curious behaviorism

THE jlODEllN C1NEimiddotlA AND NAnnATlV1TY H)

Jlccrthekss-ilild IS a1111 ell t at

the best works of Ibe llew cincllu

viewer with

in the

trcmciv dillicilit to ddinc

1tis the lXDctncss of an

llslincshy

vOice

oj I gestnre of I lulle Jt for example till marvelllls ltIbn)st

dal1ced scellt ill Pierrul Ie fult lIlllIllg the

ClII Iif II I Ie c1iIJ1CC bull Ia lifilIc de IlilIeles IVfy life line

Your llip Jint 1 highlv lilH(lIi~tic (Till Ilevcrtheicss

since it is I piece uf ch()nogcqlliy 1 rclcrcl1cc to lllcri(JIl Illllsical

-we IIC 1 1) F(JllI lhl simple-minded rcdi~lll ollhc

phil cuIlLlrist traditioll realism for libl socillics No

other film PISSlgC JHlweY(r--lll1icss (OI sset (el1t the sishy

lcn( SCdUcli()1l ccm durin the pamcc Struilcim Pcddillf

crltiltgtll IlJIL imiddot all t]wt emlin I tJLl llIClhd hC1l tlmiddot the hands I the l(lialisl mel nc tLlll witllltS pi ti icJlenl ((t(llt hUI 1 of g[Iled )ll(Hlcllcd jng al thltlll~ll(s ur ltIt ltlch ll1ller crjng chlttcring etc nIll Jl()talgi for the olLlllltJl()l11 Id (c111catl(lll hlld Oil HlnallIHlJ It 1 tnLi~ JeHU]]) siglliliclIt that d all thl Illkrn lllethod the Illy )lI Ihilt is reL tively )(glcctcd hy the ciJlJJI(( [crie i prccisdy the Ill that i lll like t

II ill ill which Ihe slcciilist ]C)rtllllllllllC be) lHccisc pc)al duts not jjlH tu cxprc- -ulnc truth (Jr illpr(s~~i()ll ~(l IliUcll ltI 1(

amI (llllrcHed rcsllit aCllwllyc]allaiysi Cl add II(llfl

con1 rihLltj()l1~ that (lP(Ille

I an urekrh- po-CrlUI the

198 THE l10DERN CTNElIA SOME THEOl1ETlCAL PHOBLElIS TIlE MODEHN CINEMA AND NAHHATlVITY 199

MorcfltL-had portrayed with an acclllacy 8S fundamentally direct

as superbly careless of the external probabilitics of timc amI place the

lllute corporeal agrecments that love produces and by which it is proshy

duced the ambiencc of gcstures and tbe thousand minor aeshy

ceplltH1ccs of a docile receptiveness that is no mere obcclicnce and that

mold the vvomans sunlly face in the ~uccccding directions her lovers

hallct of active amused and tendcrtlcss

I somc or the nshy

tonioni

variolls films hy cvcn say that

rllllains to he dcfinedli---arc for all their

till most precious comFlcsts or the CiJlCllll tlllt since 1966

we hlVC (Ilcd lllodern Jt is sllrch not SOllle principle of ohjecliv

ity SOlllC faultless IGllislll that call dcJJ]le tbis modern cinellEI but

rather the liability to certain truths or to certain 1cclifacics that

make the yuung cincm[1 more Hlult and the traditionll cinema ocshy

cCisiollJlly vcry youthFul Tile fll1l1s of the past evcn the Jllost heau

JI [ne fcncrllhshy a lillIe lJOvc themselves like t1lOSC

adolesccnts

THE OHDEflED CINEMA To thaI sHeb accuracies havc be

the dir(ct()r~ or the were

or Ic~s sensitive dl[lIl those of locby

but that exph1l1[ltion is ill1(cllw1tc-is to reshy

examil1c that ncw and subtler dramaturgy lhat ldmits Ilion ohjectivc

details details of the kind tblt the Iraditional plot film ~lcrificecl or

ovcrwhelmed Exactness of tunc I priccless COlHjUcst that renders a

whole arCl of the cinCllla obsolctemight well be in turn only a

consecjl1e)lcc

Sec passngcs of Jlurnaus DalllI Sjlistroms Willd (certain of Lilliall (the character o[ Marcus) etc And (except in Potemkill) and oj Pudovkill

Furthermore olle must not

wtlmiddotr70 all of the modern

with which one

of the films of

pIlt j and text is I grc[lt deal more it is 15 if the il1shy

realistic potcn tiD I or the [ilill ic veil ick formcrly the proper Y

of the (o11ention ur a Illoderate degree or discretcl thcltrical ITllislll

the CUlle-Preyert films) had no divided itclf Iw

twelll a cincllla of passion (in the scnse that Ollt spel](S of passhy

sionate l()( IS Hen6 Gilson correct) Jlo[CS)21 a cincllI or (xlIlxr

ltlncc and discolcry Cmcl it is this Cillllll thai is (lcc1siollalh able to

C[lpturc those so direct truths I hme iust s]loken ur Wl kilO tIll ill

terest Godard h1S sbown for

other ham a cinema or ALlin nesnai~ and his SllClCSsiyc

that beliCHS onl in rccollstrtlcled [fllths~- a

JJost critic ]lasled ioHlS Vardas 111m Lc HOllIeUr Thm was result dUe f kind llIisllnderstanlIing I did not like the Ellll (itllc1 bllt to attack it for it lack of realisll1 is to Illy mimI a serious miscollslruction Certainly thmiddot worlcrs of life as the Jil)ll presents it is lJuite falltalic Uut it had til be so For the is a philosophical talc such as the eighteenth ccnlm enjoyed or rather a militant ulopia in the gtlylc of the ninetecnth century (hut Ull-

In a Illor( Iucill ecUlmt of the actual sucial factorsalld the class factors-that enter into Ihe problel11 c(lnsiclercd) 1t js abo

ill ouc way an act of courage For although it is lrue that a few pers(J1ls in tile social envIronlllcnt where films arc produced dream of a worll in whi] luve would be truly frce a wurld both animal and human where the hudys carclessless would also be a genewsitv a and

of women and men a world in which monster of scntiwel1tlllis)II as il has come to he since

paganism will be lU1l1ecl-altbough it is true that a futurism of l10urishes some of the cOllversatiollS ill Pariss Left Danlc the filet is that aside from Pierre Kast ill La Morle-saisoJl Le Bel and La Bnllure des mille soleils no (lne besides Varda had gathered these scattered snch a holdlv l1IOVOCalie These human

conducted away from such futile sufferinQs of jealous exclusive emotiol1S are

existed as if the V were

TITE IODE) CIiEMA SO~IE H1EOJ(PIlCAL PHOULlJJ

Dr(cllli~l11 than i1 is awarc thill orders with meticulous patience I

cd ltllltl I (111shy

Clllltl 1shy

cariier at the limc (t the missed

vcar at Maricllhad Was the mnl1(siac OISCI1CC

tile llllshrrild or not) (Ic1 a cillema of tellSe 1Il1cltrtrllnlv tlwt ratllci

lhtm plescnting t1w Ipollas uF Illcllling ill 1 frl1l intended [) il1lutt

their Ippearann in daill experiellcc dclihcratcly ltltltlstructs 1

rinthint Il1(Jdel SOIll( hiztllTe Illodernistic ritual ithin

which th( pIdatllj will I()se hiLllselr bnt

ill ldvlLHT OLle could sav tllal bin Fksnlls

lack I rci1islil nlll is tkll not aho tile verv definilioll 0 plativ( tflllsllle([ into the IHClllt or the imlicaiivc

Ihesc frec feiatio)bhips are nlre)dy 1lllraquoC or k cirde but it gll(S Vardi had placed the actiu]) d her Ijlm ill such

the story--which woull then be realistic rlliid hnve lost all tbe power 01 ih militant impact For what the film ]]lcans til say that workers to cuuld live like thaL In shurt the mislIJlderSIltllltling d(fivcs frulIl the Llct Ilal Ile fil)) wr viewed if nc wIgtuld sec a Glard Jilm as exalllpk ( thc ordered eiDem 1 rcpelt I did nut like tbe film Ilut at all in Lltt This was hr rc)ss [ the cnact11ll1l1 f the uto ill its details Dilt NIlo vould Inailltajn tlilt vas nut a celtllin llUollnt ot CtJurtlgc an~l ill Ill fnet that a ll1udcrn YOllJltm (all pcltlk or sud) lmusllal things rrc how Ciln ()Ill Llil to SVlllllathi7C wilh the sinccri of her

(- In nor Lll a 1 i[c

wnnt the him resentment

trll1sccndCnlal and a liollS (as at the moment of the cxccs~i( nHnantic l)S Bernard llwcerlles But he is aisu in uf tire French cinema

Goda Id represent the two film as opposed to a

as for we find it on one siele as on the

stance the triumph of mimesis and of the reconstruction

and in the second instance a

The lillll of the

til is

of

THE JIODEHN CINECgtIA AND NAHHATlVITY 201

modem Ii 1m is the cinematograph Ie one of dIOse great whose importance in ccr-

is well known

lield

A FILll-IIAKrms CINEMA Whnt 11 I1lIshyor a makers cinema as distinct from cinema Can it provide that criterion of

since n~ ils conS(jllellces hut lind il- so diflimiddot

cult lo ddillC There is doubt dial lodav cinema is very often 1

cineml while the old CiJl(~ml was so frcquently the ulterior

and secondary illustration of a worked-out Gocbrcls

the best exanm1es criticism like Michel COLlrshynots evel existence fro]]] tllis fact it vas the Ii Ims of the pasl ( and lot its prctext in thc sceLlario But all of Alain films art inshy

cript-writers lilms fhe SVSICLlltllic way ill which this di[ccshy

rdLlsing to imagine his works sccb out at the of thl

s(ell~Hio various colbhortltors of suJlicicnt weight to Iwvl their OWI1

of things leaves llS in llO dOl1bt as to his opiniolls on the

ie level that the lilm strati-ies and

Jilms derive their intcrest hOlll

lt- In lire ulel cinema there weTe of cmuse Jlonrealistic mrrvclOlb and fanshytastic films Bllt cunstitllted a marginal area at least iJ)ee the 1935- 4 0 period Hesnai is not descendant The ordered einellla is one of the two branches emerging Ollt III a snrl of common realistic trunt that bctween I940 amI 1950 approximately had become on the whole tlolllinant Irenel in relation to the various fantastic lenelcllcies

THE ~roDEnN CINEMA SOJIpound THEOnEJlCL PHUllLUIS

whole reflectioll on the of tlte ~ll1d of sol1tuclc a

dnt C11l0shy

of essell tially exlrashy

of Codnrd himself bear

witness (0 a narrltivc cl poundantlsy

docs llut automatshy

priority hut it cl[t8inly implies an eSSCllshy

(hat Cmbrd is (lllc of those mell

(Jill he ired clurillP tile lctua]

men Illli arc able to make IlIllIs throngll constant rdlecti()11 (cvell if

it is 11t ordered) ab()lIt the liIlC)llI~ lIlel who are ahle to creall

ill the hordcrLllld of 1 pocur tbat is also 111 e551 OJ] pO(trv (tile

rCHcr surly recognizes here onl of the lllost

Jll()dcrn litcratUlC) But even iF ur ~I director like Codard the cinshy

ellla IlllTI til Iv prescll t hcFore nisting becolllcs tllC nccessarv cat dyst

1m lillll creatioll- in the samc wal thM the idea or the h(lo]z is 81shy

ways in the minds uf modern even whell the hoolz

t hev lre is hardlv bCLlI1~thc Fact rellFlins that WILlt Collard

or ]the

mllmlilt of thelIarrative the

sea Pllis 1

hie with story

I do not see why the modem tban lJlvtbing else Eric

UIlC SIHll~titnes

point Iut t1wt the new prescnt ill the cineml

one forgets that between a cOllsidcrabl~ dilIcrence uf

In~lJ1 VJhu reached his maioritv The

all llew novel]

lcsclnblancc is Zl-S

At tbe vcry least nile sllUuld

narrative etc) cinema as

llovd is almust an

slllluid be lllore in Ln(icl1 certain Siln]

and the l1-W as

extent pheUOJ1lella as Too

such there exists old mlll lIJd the

and the same

THE ]IODERN CINEIA JND NAIHAl1VITY ~o

ever hroken and unfamiliar the 1ll8Y

line8r~this fact never is olle of the most proliJic of mudern remains true even when as is oftcn the scenario is horn in the midst of way only the COIlSCshy

(jUcnce or thc of the sccnario froll the modern cmelila or 10 t1wt the only scenarios me those that lrt IiC the of JUJenclH~ mlll Bust

A CINEMA OF TIlE SHOT Is the lllodem cinelli a ctlllll11

or the shot as distillgllishcd frum the old cincllw which WIS JJl(lrc cOllcerned with racing fwm shut to shot straisht to the

But jf that is the case what is (lJlC to say

the expressionist tendcllC~ CCrlllJll eXI )ressi)Jl iSIll the LIst Jilms or is 111 (lId OJH

that cOllnotations at

cinellla ~md not

ilctcristics of the Ilew cincma Is not the

of ~I kind of Vlst Cistclltiai failure

ohserves Cll]111IlIl11icJtcd

J1]Olltage) Is not Sa1alore GiuliallO a mOlltage lilill

lIiusie cinlma --and tllM was grounded to a hirgc extcnt OIl the

of inducing a IJorizolltal leading of tbe lihn that Iould COllSidcf cadi illla~c at length JlJd Wllltll on tIw olber Iwnd is OJlC to sal ~lj(lut the

grcllt f1llaisSIlII(( of wOllla) whicll after a period dominated hI the

from encl (0 end As for the yuuthflll dynamisllI (If Claude lcl()uchs [lUI Fillc des fusils is it not derived as lI1uch fWIll the of

the 111m as from the wonderful exuberance of its lllOlltlge nd Whll

of the imDortmc( (If SIOJlS

in the nd r

thought Tire fact j huwever vh~n SOlllC(le says H$ one hears that thc cincma is far of htcratllll one must C(lll shy

elude he nust never have read anvthiwgt at all

204 THE jVl(JDEI1N CINEMA S01JE THEORETICAL PROllLEMS

rative flow also confessions of 2 to 7 mel 111

Vivre sa vie And the and Ncver~ in

Hiroshima 11011 omour a counterpoint lhat despite its modern ac~

cent seems to emerge straight from the editing table of a Balilzs an

Arnheilll a Pudovlin or1 Tilllocilcnko And all the JIm

one sees

J CINEMA 01 POETPY remllIlO lmall y the lotiOIl IT

by Pier Paolo of a dislinction between

the cincma 01 and the cinema of poctry As attract inc as il

illay se(IIl the idea i~ nevertheless basicll1) fragile For llle

of prose and poclry arc too linked to lhe use of the verbal

to he cClsilv carricd over to the cinel1w Or elsc if ()Ill~ poetry

in

sense (gt1

whether llnessful or nOI

sidcrs poetl ill its tcdmical SC]lSC Ihe lise of Icrbal idiom

restrictions

a sC(JlHI code cappillg Ihl iirsl--()IlC

idi()m 1lsolini is

with

its I)f()adest SCI1Sl--as the illlllledill( Ilrcsenn of the world the

cncounshy

seems SIUll101ll1l1hlc The dlSlIHT or code ill (he cincma thll is the absCllce of

aware o[ Ihis ]lruh~

precisionl gut Ill believes

111 things c()nsidercd it can he circ1ilIlyltnted I helieve UIl tbe (()n~ md bter I will show wIn Furthershy

more t() these obstacles one must add still 1lOtlwr The

prose in Whl(c(r S(llSC it is gin)] has 11(1

the cincma and iF I pros( docs exist in the lexical

in distinction to poetrv and because a long rhetorical tradilioll has

divided into two a domain that is initially litemry (for prose prop~ that of a Chateaubriand or of a Stenshyspca

is aJshyand nol fromready the artistic use of language anu

IItiliti1rian language it creates ohjecls that have their own and

ilwt leads trulll Ihe

llTIlin av frolH

THE 1IODEnN CINEIA iTD NAm~TIVJrY US

at which lhrut or tor the it IS

lie Icr thCe CUllllllllnicHiul1 it lTCiltCS work The

poetr and prnsc J1JS IfIc1l1ing lt1nly within

(111( that 1cparatcs literallIre fmlll thl Ic

of idiom IS a to()1 nd it is this Lllimlrv distinfiOll (licit is ill

cinema S(I Ihat no 11111] Gill sIT iel sellse ll( Ir

Su oj Pas(lini- II

least for rdurn 10 tilC111 111lt1 let us lXl11J

ine Ilis Ihesis i(o]v ur til( lillllll If tJlcrc is sil]oc trelld

h IJ or Ihi histo it is indeed II1l Ule

eillCll]1 tu Jill J]((Ii1111I1ilmiddottl1al i II) Sci

the C11111111 f jllllr til till inlma o[

l)fose and 111 (he othn Va around Pasolini Itlllis

IhCIIIII-which arc nol rart in die modern CinellI]

struclllrts I1l lcnds also (0 CI)]ll~lrc tll( must hCllltifu

fillllS 10 (be dullest liddilil)])tl movies ltllId he tI( Iwl Lol)sidlT lhl

poeln il) 1 J)ollhle 0111

PUllr Iii Suile ill 111001ilc

or Dewier aloul

of

fillllS Olwj()lIsh lhere is more till iallo

Preside III ill( Cmu plirulI

C1l) onc

uf wh ich fur Olle l(l scc

fnr tl1C

Ill SLlhstII1CC lud Corm of cadI nnc

mel less ladie I h lIl~m (he older Ii djllers gtIll

be suilieiclltiv CCltlln tlla( IhL

Pasolin 1 sJl( ( b rClfCSCll ts ltl

in it il]( bCltillll

CillCIll12lti nd is it

Jillal 1ll]lys]s ((Infused with il111 inevilable slIbjedive lOIUmlioll oj

the filmie objccth its llming plrcCptjoll~whidl is ) ChllUCillilje

of aJI tillCmil-SO that the olliv real dilfercnce uuJcl Jillalv he tlw mel prose perceptions whith can only he dnrilicd hy d1C

ul eaeh film and docs no(

with Ihe existCJlcc of general restrictions

from

____ _

206 THE MODEHN ClNEIIj SOIE THEORETICAL PROBLEMS

further is it not alllong the liIllls that scem the must outmoded

todi1middotmiddotmiddotmiddotbut not always righth-middotthat one encounters the most cohercnt

and systcmatic attempts to COllstmct a hIm as one slrtletllr~s 1 poem

ilhat ahout Pudovlltins lvrical which Jean iVIitly has so well analyzed~7 iVlw ahollt the corOlWlion scene in [van lilC Terri shy

or th proccssion hefore Vakulintchllk amI the scelles of mist in

Poclllbll( What Iil()Ut Abel Ganee in Nupocoll and La Roue AmI ttlt attCII1Dts of the pllre cinema to substitute a einlll1ltl or tlzellles

And Jean Lpsteins enthusiastic analyses of the value of the c1ose-ujl shot And the lise of slow motion in the

seen(~ in Zero for Conduct And 111 the systems of montage

mentioned earlier vvhose aim vas to forlllalize the various ilmic 10 solidify the thematic depth in the normative pre

a formal svstcm Im] the accelerated

ing in the scene with the hlack coach ill N ()SfefUflI jnd the ineredmiddot

iblc Icrial traveling hot in

me ali indeed in$t1I1CeS of those gramlllatical elewellts IS

flillCtiom2B that PIsolini tellds to idclIt ifv wi th the new

cinema III trulh though tmlays cimmltl is at times rich in

resonances tl()[gh the had films of every I)criod hy definit elude the s(jclilcd puetry of thillgs llld the or their

zaliull the fact remain that the only attempt that havc been lInder

taken toward Ilut only a poetic eincnla bUlals() a cinema as organized

idiulII-sinec this is what Pasolini is talking about-were preshy

ill tllC old cinemamiddot Iml the fact is that since its hirth the

cinema has prltlctically ntVlr ceased to evolve ill the direction of an

ideal (technicallr prosaic) lIexihility and a freedOil I that arc

T mv mind these atlempts have culminated in a failure which 01 the level uf general CltlllllOt be overcome hy the few ll1uglliliccnt but isolated suceesses A Iilm may a poetic novel it C8l111ot be a (except in the case uf purely thematic nUJ1middotstory-telling short lilms like Berlill ur SucksdoriFs Rllyt111H of a Git) In a poem there is no fable amI nothing illmiddot trudes between the )uthO alld the reader The novelist draws up a world the Ioet of tIle work The fiction film still seems to me to be closer to the novel tu the poe111 And finally the period in which one believed that a film cuuld be a pOlm is that of the old cinema rather than that of the lIew cinC111a

_ ____ _bullbull__~ bullbullbull __ __bull_____bull____ ______________________~~_ __~

THE f-l0DERN CINEMA AND NARllATIVITY 207

WltlmiddotS tlH~ anIlvsc~ of Frallshy(tbe cinema s a modern suciological

novel) ndrc llazin lnd the

to the novcl rather than

or i

iou peCl lia r to mUll y

lISC or the powers of (he flbliIOlI~ within the framework of til( rclatiVllv

realistic lilms verisimilitude) middotMore gcnerally one will obcrvc

tIle sCHalied fantastic cinema whieh ill certain carlv periods

emile vcry close to merging with one of the ILIainstreams of the

cinema as a whole (Gcrmm-Swcdish expressioll ism hOlll 19 1 t()

1lt)3 0 the fantIstic lilms of the period 19jo5 sllch IS FraJlkeN

stein TlC J1HisilJlc 111(111 and Kill J(OIJ) eventually became I

Cllfe and a ralher special genre It that which even ill part over

vhat the French call the eil(11111-is horror films gmdcgtBltalian

sadistic Japanese lilms Soviet fantasy

etc As a tllC so called realistic film which has long

been contrasted to Ihe fantatie film or to the film or the marvclous

as ir were the two poles or the cinema laquomel this is

the famolls theme I ull1icre lS AJcIiJs) blS taken uver limosl the whole or modern film

Ihe new cinellIa lS the JIOiccaJic jJlCSltllcl

in traditional lill11s Oil the contrary the camcra tried to JIlake its prcsence unfelt to ll1llzc itselF invisible hcmiddot

rore tbe spectacle it was presenting But whilmiddotc it is true that this

may apl)l) to certain filllls or the 11(1I-s(Hlistant

classical Americall comedy for example and in III e films related to what called editing ciamiddot

was made to appear invisible-it cannot describe tllC

various tenclencies or the very cinema whose on the

were based on the presence of the call1era mOll

or Abel camera movcmcnts in

films the optical clistorriom and

L

TIlE IO[IEHJlt CINE[I St)H TJllUCETlC1 1 TIlE ]IODIlRN CINEiTi AND NAHnATIVITY

ii the lIS ()f dlc Trellch s cIoc-uplt in TI Pussioll of re ill (sthet ics

[kit th IITt i(ims Iike ] icllstcill

in lIiml whcll thel imisled

[illl1ed deri ItS hi the rilmimf Ild ((In )

verselv ilhill Ill( 111ltldcrn cinlma tiICIC is 1 lcndclHv Dill

ivis-JtdlJllCr SOIlIC I illj()l)iol1i F Dc StII

mel Ill the cil(lI(f ele Ilel thilt cardulh crilSCS lI1 CIIlICr

cI Fccs tilliS (Ill thiS 110im [ am ill ailccnwlll with l~lic nuillllcr

III

dUII1lIllali(HI

Ihcilll lIld I

11111

llld

Ihe invisihlc

f()r Ihe

the

dllSl Ulllllpluti pC found ill till lilills f

Licit

)[sul 11111

Ik rell

CIs (111(1111

t Illlml

hese

or I hc

[allln

lllti

ISll lel LIIJltr[Vancc [ihn makers

shut cillCllIltI ililel sequence (ilWllld prusc Cill(lllil

lhc Cillll(fl-inlICSllllt alld

tillcliOlls s(cms to me to ICCOUill

lIludern eillCJll~L

cLlililcd I Illodcm i too ollell

to 11(1i is bcLillg ill

l~l Wls PI(lps(d with (1(J](l II nr] IIiIlI 01 tll( 111

10 ClTlclill llIodClil lill]IS11ll1 hal

ruc-hut wilh lll drOll 1I111iCI1I

Ill)ssihk I1l1111IK1 01

l n d llempl is

lt( few pgcs III follow

t1VllIcC lhe inevitable

lui h Sill is iI til In (Ill( IC~

n()le lirsl tlwt il all lllll[llld 11)(

rC1S(lIJ Tllev 11( Sil

the cinCllW was IS S( l

is s( ltIt lc~lst 10 a much kSSCI extent I hdievl 11 til( the modern film is IllOle lllIIltitin ltInd IlWIT silli1

the main contribulion of the new cinema is lu have

flhllic narrative

cunlllry t1Jlt1t

so md thll

enriched the

lVlore or less lssociaLecl with this idcl of a presumed

ur wea kcu ing or 1I11TMi viI y is ltllllOJ] g lllmy critics Ihe 11 ()tion oJ a

hrcahlow11 or Ihe gramlllar ()r sVlltax uF the cineilla I wuuld s)

on the contrary that the cimlll) hilS lIe( hld cit her 1 gr~l1lJJl1U r or t

in tile prccise linguistic sense or thest tenliS (S()l1le Iheortli

that it did hut [I)M is allot her Illatter 1lt111(1 il

toela still a certaill IlllllllCI of rUllciulllLll

that pcrilin 10 the mosl profolilld necessities or ransmissiu11 of ~ll1V informI l11inl1 IIVS dl11 arc ex

arc to he sough in

and no ill tile glltll1llllill or 1a1lgUltlgls TIll wjl()1c Illutldll or til(

the fact tIl( Olle looks for ltl1l1()I1U the aud spcciJic V(TV rClllovcd rom rla Ii t ) i] iOIlI1 ti (

without laws all lliost prohahly bCOl1d the expects to lind thllll~th)1 is 10 sal Ull

a IIlllch ill some WllyS prior to lhe dilfciClllilti()1l or lcrbnl all il e idiOilis ) Frolll othcr lllllllan semiotic wstems

Vc ~Irc told was suited lltJ

sv 11 Lu llO [xists Iklt

the livilllt rJ11il s t() do with sllch iI hurden Bul

Ihml beiliU acllwIlv syntltlclir

articubliolls ralher

de SllISshy

CIIlCI1lH elll be VOlin )

excesses of raquosyllt~)( Ihat during the period of dill lInglleJ1 amI Cl1l

IaLer was considered to be as strict a the grammar of a verbal

gUJgc But the new more Hexiblc forms or the cinellld arc govshy

erned just as mllch the fundamental f~L1rls without wllich 110 information would be possible a discourse of SOIllC is alshy

wavs in olle way or another divisible The

-

these rule have llothilll to do (rab1lt little cleviees

(~octeau was on tile lm York 101 To Ilush them aside-as

2IO THE IODETIN C1NEIIIA SOiIE THECmrrnCAL lHOBLEMS

it tried to he nOII11lt1shy

aim is to

but it admits tu

verbal Imwuwe the

ollr lilLlguages And we know the CXtlllt or the gap bctwcen the

and the normative gtallllllariall hiel was illustratld ill

j()6 by the lXrlWllgC puhlished ill Arts hct(ll1 Elill1lhll llld Mn

tind Evcn the l1)ost allvltlnccd filllls still pertain to J

ltq11)]OdCh tlwugll ill order to apprclllI1l1 new ()Jjecb the 1lttlT llla

have () bccomc mure Hexiblc ns I will show ill s(veral

her (lll

hI hmt tW() crv llilTcfCI11 rules or the

cincma On derivcd irolll

a 1ullal irc hc considered outdated

or tbellSsl restrictivec 011 till other 11all1 there arc a certaill 1l1l111

Jwr of stJllctllralcol1liguratiulls thlt are ill illllll rnLl laws alld whose

details arc consLllltly evolving When OIlC SIV th~lt tbc Illlls (IF the

lllW wnc for cxmllplc have ullnplctclv dismantled the Ilarra

livc or thlt tbey hlC( Clltirel displaced Wlltlx OllC is fCIII takshy

illu 1 ven limited vicw of the

llalTlt ive lllt

vith ll() rdatioll

a purely 11llOlogICl1 (lr COlllIlll Ud cudishy

to the

llimic vehick as I wh(1lc It is prlcisdv t() the extellt thlt tlll rllltl

Of the two the linguit Wlb Andre 11ntincl ltC jnother suurcc or lllisllndcrs18nJing The ne cinema has

very rightly so-a lumber of mIlS sueh (lS the prohibition the 180shydegree angle shot (I the taboo gnillg from an establlshlllg shot tu a closeshyup with no change of axis or nltrainst the actor lo()kill~ at the camra etc

THE lIODEHN CfNEiIA AND NAImATIVITY II

tklt the inl1oltuiollS of the youllg cillellla arc

so far frol1l delllonstrating tile llonexistshy

(lJeC o[ lIlev Ire rcallv discovering new syntactic regions

while rellwilling (at least as long as thc arc intelligihle IS is the

case tlmost tlways) elltirely submissive tu the rUllctional

lI1cnts of [iImit discourse llllJiwlillc nnd Last Year at j1jorilllZ)(ld arc

still from one lnd to the other iIIllS and

lt1ny

lludes the (Icsniptivl SYlltagllla

til inl1mlltlW lid llld ill Paris rlt

least ill the present slatc or CillllllJt(lgraphic thniqucs) a 11(1I](lishy

cgltic illlltlgC must ill (lIlC way (If m()ther he linked t() a diqctic ill

n(l ()J it will not Ippear to he lllllldil(ctic etcY But sllcll

hml llcvcr l)(cil seri()tlsly triLd hy Ii I1ll-11mlcrs ulliess ]lcrllltljls--aml

CVCIl itlll OJll would han to (-ltImine the lIlatkr 1ll()lC

sUllie (SlrelllC aVlilt gardist who

drort to lIlake hilllscll understood Ci1](11IltItOmiddot

to the Jlarrat fictioJl liiln nd lilllllllakcrs IllYlI ltlC1ll(lt tt) C()llstlll(t stich

0 iJlJa~ill( thaI thc l1li~ht lxist is precisely

hCllllSC the llIain Ilglllls or cillclliatogrlphic illtclligihilitC illlllhit

their Illinds Ii) a IllLlel1 grcater lkllt than the arc nvarl oF Silllimiddot

Imh (he lIlost (lrigil1d critcr d()ls ]]((t attempt tu L1SlliOll 111 tllt

Ilew Llilguagc

IV

That is wlly HOW of tht cillema

and la ke a more and lechnical an d from this

return to the d the Pa~oliniall tbcories which

more than any other attempt at defining lill1lic I l10llcrnity Irv [0

delillc tbeir subjcct precisely and go beyond thc stage of gencral imshy

pressions

1

212 THE IlODEHN C1NEifA SOME THEOHETICAL PlOBLEilS

TIm nHFGNI on [CONIC NALOCY 1t lirst glance our 311tllOr

slys there is nothing in the cinema correspondillg to what idiom is

for tbe writer Tbat is to say there is no codaied instance prior to

the actual aeslktic undertakillg Fine Nevertheless Pasolini continshy

lies one Hlust assume that there is something in the cinema that in

olle way (It another assumes the sallie role as language in

sincc the constant fact is thai tlll lincJI)il is not all abortion that it

is able (II cOllllllunicltc14 It is at this point I hclievl Ihat the lllore

statclllell ts An artlsllc semiotic svstcm Sillll as

the cinema can functiol1 pcrfec(l vel I withoul the assistancc ()f an

initial codified The cincma is in the same as Ilrativc 1ll Claude LeviSI ra usss TI( Hall mId

the Coohed The first level of articubtioll hv the natural tllill in the

ill the picture 011 the screen)

Literature res languagc hecause the soulld hy tlte vocal orglllS possesses no intrinsic llllllling Thcreron it 11]s to hc arliculaled 10 lllllirc mean Vhidl is withheld from inarticulate

Ihe two arliculatiolls dIal C(lllsli1l11( languagcmiddotthat of

ami Illat 01 the J1l0nClllCS in 1ndre Martinets

other dwn the illcvitlhlc eTlltiH iIlSIII1CCS or ( dll1otatcd iicatiull) hlckillg which Ihe

OJ] which to project Ihe illtllplay uF lonno

lations But the Ii 1m I na ker docs 1101 work wi th voea I suullll in itil

His ray malerill is (he illlage-thin is to sav

whieb always

or a I lcust codi

liable language delines as

an inJeJ

thelll tbe lilm maker is as the writer (keeping in mind the

the written) 1s for real noises raise essenmiddot the SilllIC problems as do images to the auditive dimensilJn

One mllst nut confuse sonorolls and yflOllic sound of the worll has its (Jvn meaning (the locomotives whistle etc) a phouic sound acquires pre-

only by means of the linguistic

THE WDEIIN U1NE~IA AND NAnnATIVITY ~l)

1 _etc) awl thai

til( bllclIa~( llll(jIllOhilc froll Ira

rite CillcIlI1 lt1ITiv(s at the sallie results

not ~l wh()se cJllcihltion

llnCliol1 illu m additional illSLlIlcc

thclicd mel ](hCnllllOusGbullbull il is 1l111h JI10re

lest and least connoted plll)logrlph of 1l1 lll

I (I I Ill llih 1

Illy 1)

hall aulltllllo]ile h)) its

mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti

lJ Ji I 11)1 ill (lIlI

plrlicullr lilms hnl I]()I

dl(l)(si IlI(Thlllislll of lillllic inlellcelioll 1101 is OIH to

ulHlcrslIIHlli P]solil1i asb wilhoUI SllIl1cho 1 LI1()wlshy

cdc I till sllIhie lll](s Ill tlllSl Iislial 11111( 1(1111 illlI(S )

III ilH JIlllllor Ill lIlJllli0I11 d dlih Iii liill [heir 1 llile lottl or i1ll pi leit ltcllsinllS fill (ilch S llld (ilch

givell 111 Vulll Il OhSClIll hUI (Illile red

iL tu Llkc 1

Cdr III

COlsiliS WIS ] spprts (ill with all t11lt this implies ill IWllllitlh

dicillllilV

llt1J11ll H

til( [ul1i tllllkrslllldiIH or a

Ii Pasolilli [db hout

)11) thai

lilY Fnullc (hl peri()d pI dlt jilIn But dl lIe S1111l 11(

beCilwc we would sec it Ibn it is ] Clt1r illld that w(Julll

us t(J grDsp the dllllct mcaning of tltlmiddot pilssugl Ll1 that 1Il Eskimo wilh no (jlcricllCP Dr induslrial

]liOIl mighl not evell be Ihk 10 recognic the car For hlt Ihe Es

kimo Flllid he laclzil1 ill would Jlot he tJ 1( abiJitv lu

it would nut he his lallgl1l~l

21- THE MODEHN CJNEllA SOME TlIEOHEtICAL PHOBLEflfS

that would he dcficiclIt hut of social car-as soon IS it exists

in the like 111 other objects (lj

and a child in our society Iws IlO more (rouble idcntifying

a (rllck th111 he docs a (middotItmiddot

As the readEr Cl11 see this passage devoted to the ideas of Pier Pool PISO

lini-which was writtcll carly in 1966-is I lllitlllC of alld mgU]JlCllt The rCltlsom for this dUl1blc aitilllllc whicll has nut the llleltllltimc bccn lllodified mc clearer 10 I]( [odav to the cxtent that graphic md (lila hrs becoLllc Pasolinis

as this discussion shows the iconmiddot _ to cach sociocultural group lIld

themselves would have llO [ am I](t in the listCllCC PI such instances illlply what]

lnsolillian ilk that thcse (()(lilications )rc(] the are ~(HllclH) of lbe sanle IHlture I~ iIHlllltshy

Inllgllage wImiddot list Ivel they nlllht cOI1tilllt(middot that till fllili iI Jlcll would always he constrained 10 handle (or partially to invellt)

two lang11lges ~imultme()llsly that of the illlSlgni and thai I the cinellla Tll(rdorc virat seellled to Ill( to be cl(Hlhtful and a bunlcIlSOllll artifact and all addil ioual notancc penly preclltccl by Pas()lini himself ] thing civcntllJ(Jl]S ]n() hypotheticaL is not the imseno itse1l jmlilicd elcatiol to the levcl or

with the conseqllellcc the code of

of our mnch mOle tlwn to cillclllCltogr1lhic insist so IIlIlC] on the idea that for a lrtjcriy sClI1iolimiddot

the lirst level of (ie the onc that is 10 the lillnmiddotmaker a hnguagc is to the writer) is not made tip of immiddotscgni but of visual and auditory ltlIlalmiddot gie If tIle llovels readcr is able to reclloniLc a ill the it is tlwllLs II the linguistic mit clog lind if the firmviewer within tllc lilms stury t hat is Ihanks to Ihe images visual analogy with a This does nut prevent for a more genera I semiotics many of t he that Pasolini deSignates as from being reintroduced mId within analogies (sec abOlc p 1 J for it is the pecnliaritv codes

cudcs)

THE 1lODEnN CINEtA AND NARHATlVITY 2I5

Froll1 the presumed existence of Ll primary of immiddotsegni

(which is codifiable but never really c(ldiliecl) Pasolini deduces the

idea thlt the f11111llwker is ohliged to inventl bnguage lrst (ie the

altelllpt (0 joLttc cclrh the im-scgn and then an art-whereas

the writer wllO theady possesses the can allow himself to

the misshy

the fact

lhat it is

visual and auditory information Tn otlin words when very hroadly cultural [jlmsas thcy do lflljllCntly especiaU) whcn IlC thinks

of the contents of individnal illllsmiddot-thcy em orten prcscnt i11 fir hlll ilsc1f (or ill Ibe soulld ibeIr)-that is to say within th( analogy or at a )Joillt that in relationship tu the total CCOIlOIllY I the Illmic signilication is disti1lCt from that occllpied hy the codilicltions that constitute what olle calls cinclIlatomiddot graphic language The image uf the wheels of the traill derives from wt frolll thc cinema wlicll it appcars on the scrcell it is identified hy allalogy with the r(11 wheels of a train and il is thanks to this resemblance that the Ellll is able to carry all the 3ddilional sillillcatlolls associated with this image in culture Bnt if till image is ordered alternalc J111 gtntage r

one that ami is sll])erimposc(I

CillCI1Ltloshy

()J1(C lire] ore

~p(cilically cin~~at~ large seglllcl1 ts 01

such as alternation to dIe eillema is tbe

in relation to cI(h uther-middotthat of the syntagmltls On

cuntrary there is no system are selerai of these

films but that is matter)

-1

216 THE 1ODEnN CINI1IA S()1E nlTIOHETlCAL pnOBlF1IS

his aesthetic inlenlions and his

that- he is occasionalv able 10

onn liahle to hccolll( a Fact of

conventional

dCllotat inll t(lda v

result of the

111NHvVAL OF (C[NE~IAfl)(IAllIIC SYNTAX vVc kllow t1wt structures such as thc the allnnatc llshy

the hrlcLlt scquellccs etc which

lructll res uch ~IS

for jlJTcesioll) lor (xshy

sllccession as the sigllilier rur

disLml Stlcclsii()lI) c[(-Ir( ltlIl1llg th()se lIgllrcs or ((JIIll(ltti()l tlllt

hlT ill tillil lso hCCOllll inlllligihlc pM(cms ur dCIl(ILltio)l N(lW

what is illiporLlllt t noll i Ihlt IIlWt of thcse sctlliol()gicli figures

h1IC ll(Jt Llllcil ltlut (If lIse tt Iil hut ltIll oil the C(lltrl1 ill currelll

lise ill the lllmllrli l-inClll] Not ur course thll the ~t()ck oj figures has

rClllltlillCd 11IlchlIJglll frolll (rillith 10 (Jur tillles III the cillCtl1ltl t(IU

there is I diachrony It wUllld he easier tll I)icl olll pnl((durcs lhal

IWH aged the l101ll1icgclic llHupllo[ as rCHTd hv ( as l will SlC ill 111 c)llllpll further Oil ) s]()Y-JJlo(iol1 tcccicrated

IlHtiull Ihe usc or the iris dinpllrlglll (cXLent for lloswlic llld llllshy

lllorollS (Iuutatiun Su)ol II-n

OIl

this techniquc the I1rst SC[lllIlCt ill UIIl

iITVlTSC-]]()t in it lllcchanical f()i1ll

the Sl clle in the Paris

THE MODERN CINE)IA AND NARRATIVnV 2 17

Ie fou with Anna Karinas lovc song is handled in a lIlorc llcxiblc

form of these normal evolutiolls one

should think I Vice hdorc that cinematographic svntax has been completely throvvn overboard The license of poctic inspira

tion must not be confused with sOllie impossihle license un the level

of the deeper lItieuhItiollS whidl evcn if they are partiall arbitrary and arc Furthermore ill I cOllstant state of evolution nevertheless

guarllltcc within givvn sl1clmmic conclitiolls the correct transmisshy

sion uf information Only the i~()lDted and unexprc~setl th(lllghl--if illch a thing exists-Gill (perhaps) hl rC1l1()cd from such a iltlw FWIll

thc llloment tlllt sayinl occurs the desire to COl1l111lllliGlIe conshy

CCrtl for the public a certain number of ~c11li(Jl()gical rest ricshy

tiOIlS Ippcar which chtrlcterizc the cxnrcssioll of t hOll[1ht rltller

thall thought itselF thaI is if tllC two til

Hather thall ic syntax wc

arc trend of dCldshy

or less gtshyIIIIII J

which

scene

flgu res

Let LIS COlJ-

SI) flr I have idclllified hum dIe origills or tlte cinCIll1 to dH

a limited number of ]Jllsic sVl1tltlgmltic

Now there is a passage in G()dards Pierrol 7( fOil that Gml10t

he reduced to any of these models or 10 any variation of these modshy

1 am 1I0t using (he wort figllm in tlllt sense of a uf (or of spccch--th~t is (0 say as a means or connotation-out in a much hwadcr sense IS any characteristic and recognizable synwgmatic This use of the wore is justified hy thc confUSion pEculiar (0 the bctwc(~n COI1shynutative al1ll dCllotative patterns

21 THE IIMODEHN CINEIIJA SOME THEOnETfCAL PllODLEllS

le1( the

1l1d Hee

1Il red which is ill

the sidcvalk ill Frollt

the frOI t of the

of the darF

egctic point of occur sevenl1 minute bier

since we now sec the 404 rapidly alollg the hallks 01 the rivcr

The PltlSslge I hus sever]1 lllHlSlWl From the hmks ()j the rinJ we go hIck to the drainpipe the clltrance or the

car It the root ( Ihc huildino is ilselF showll two or three limesgt

slight vmiltltiolls ill Ihe 11()sition mel in tile 1ll0VClllCllts or lhl chrshy

lclers (vurilti(lns thlt remind LIS rat]ICT or l COllstrlldioll dear to

Hoblx~ Crillct 1( IIoycur 1(1 1-1 uisOJI de rCldc

TllCrCrmc ill this syntltlgllw tilllc d)ls not fllnctioll ltllconllllg III

a vectoril1 SChclllc--a schellll t Iwt (oITCSI)OlHIs [0 Ihe simplest md

ll10st lOl1ll1l01l nurativc procedure it CIllIlO he lincar lwrrltivc

(i_e sccne ordinry sequellcc (JJ cpisodic sccluellce) Nor

IS II ltIll dlcrlwte syntlgllll for tll( lltCIII1lillg illllgcs do Ilot reFer to

silllultaneous lTlllts hut to llearlv slicceeding events (the shots of the roadw v lIllIE thc river

atcrnlshy

tive variatioll or the ltIltcrntc ists hlT

Illade several trips hack mel amI the

river IXlllk still less docs it

it

that of spJtial cocxistcnce

since the passage ill

THE lJODEHN crNEI[A AND NArmATlVITY 19

tive action but quite c1cnly a sillgle succession of uni(]ue (lLCUrshy

rences Nor is it an eXllllplc of the bwckct syntagnw for in tIlis

illstll1CC the fillll obviollsly shows 1 singliLir event ill its OWll lLlI1lS

and not in tefms of SOIlle other [vellt (that is there is lot the slightesl

at cltltegorizalion) Last it is not1Il mllOIlOIllOllS silot since it

contltlins sevenl images corresllOlHling to n single unit of the dicgcsis

It is in bct I killd of dislocltled SCltJUCllCC highlv c)prcssivl of the

Ihe fever lnd the rdndOllllllSS 1)[ existence r1y idcn

of dellot]tion) In tlKmiddot Illidst ()f the frellzy of the tlll~ (lenotation it presenls 1lt equal

a sort of scM-confessioll of narmtivit lJ]

awarelless of its Oll fahlic nature sevcrlI different lril

of a rrllltic cscm( suilicillltiv similar to each other nevertheless

-hih we will never know

Ill lake its uutlined ()CCLIITClillS

Llccd

curate sellse 01 (JthCr

claimed lIe IS

acttwllv he realized

tiun curresponds fai

llis own experience There He

of 1Ilind

diet tbe possible outcome to

psvcbol(lgical lCntClllSS ill the imaginllivl

vuinnts tlJlt ill [he given context Ut

hility thlt is realized) In the passngc we ~lrl

CodaId would S((lll to lw]ollg to the second sinc( Ill is ahle to

suggest with 1 grCJ1 deal of truth hut wilhout clclCrIllin the out

CO]l1C s(vcr1i possihilities at tbe samc time So he llS a sort or Iotclltial SCfIIWI1CC--lll ul1(ktermined

Hew tvpC ur s)nt]glllil l IlOVel form of the

thai remaiJlS entirely ( figure of IIm-falitt)

difTerenl lV(llts places timCs Ulle ctc-iil tbe same IVaI

that ill the same film the shots of the HClloir pltlintillgs COllstitute a

220 TilE 1IODEHN CINElA SOME rHEOHEJICAL PHOBLElIS

relitalizHtinn of the old nondiegctic

the sillce the of Eisenstein

statnes of Octol)el

[here would be lllany other examples to examine The still

grapll which IHid been little used up to now and to whieh Rudolf

Arnhcim gave ol1ly n very modest ill his montage c1lart i- is 110W

ilf Jeanne lVTorcnus Face ill

you nmt do JIl Vonall is

11 1Il

is the voice or an

with the modern cinema cXDericllcilH its first real Howcrimgt tbe cx-

CIlld Jilll the SCCplCI1Ce I het

(i ~lOIlII mel composed

variuils modern lilms IS

anunymolls COIIlshy

lIlcntator much less the incltImatioll of the mlll101 than of 1lIITCItivit y 1S lhcrt Laffay observed in another Clmtext 3H occasionally il

is that 01 thc films IlrotHlonisl llcldressilw hilllself llirectlv o the ~11Ishy

dicllcc--a new form of aside lkb Iluudos voice in Vierwt Ie fou the

lirst seq llCllce ill l1uriCllvad To these I wo olle Illllst add the

on-screen voicc ill dialo211cd sccncs llld the Iretl LlClit LIse of writtcn

titles mel also the (lIl-StTeCIl

voice itself when it assullJcs the rccitative mode and acquires a ~()vcrshy

dell~ity that pulls il away hom the illiage md trunsforllls it from

within into1 kind of oIl screen voice thus 10 some cxlcnl suhtract

rrml1 the (lirosliilll(J IlJOIIIllIIOUf La PollIe (ourle etc)

TilLIS til( lilm is ahlc to pLly Oil five levels of

ranges live personac One could wrile a whole study of

in a Codard or Hcsnlis lilm Oil the problclll of Who is

Ami onc could write mother study Ull the revitalizatioll of what lISed

to he ca11(lt1 suhicClivc irllwcs in Fellini Juliet of tile [1lJ

SYNTAX IS NO SllcHEOTYlE Thus syntax still as Funrly

named as ever is nevertheless alive and well But many mislIl1dcrshy

derive hom the fllct that is often confused with

cliche) An ori2inal 111m is cOll1lllonl urcsllmed to

Fil liS 1957 p 131

TliE MODERN CINElll AND NAHrlTlYllY gtgt I

gralllma r upSide down ci lema tushy

grdlllllIltir is eHdited only with mediocre films That is 10 con-

ruse the llIlgUilgC process with the aesthetic stylistic) process Bc

tween lt1r( and llllgulgC there me COll1plex scmiulogicnl Ic1ltli(ll1sh

art is nol actlilliv Illlguagc it in OJle Vil (lr illllltilcr cshythe()r 7Csitie it and tbat is whv dolts lIOt

llbert tlllncd

illscrilwd

II] tilt jrcnClI lilliguagv r)llt UIC IIIl[lcrtcct WlS (Int stili ami lillshy

is ill IHJ Va dilkrcilt 11(1111 the

is the OJ]( syntacticilIls md It i I

SillliLIrV the llSC (II ])()clcr lloVel and intcrct s(JllIe of

llCIllt]WcSS slili iTDITSCIl[S a hanal livlIrc SlIllT It all~IVS lIILiIlClS LIS

10 reCollstrllct

hipHtilioll of till screen space

must not rcal) COlli lied

illll-makers artistic lJl(kanlr sincc he now stalLs that the first (limic

cudiflcatioll is slylistic i1ll1s overlapping Oil my OWll VIlW that it is the

striVing for conllotatioll thal in the cinema has ultillwllIy

till enrichmcnt awl codifying ur dellotation and 011 the [Jlher

ized image of the wheels or a train

the lIIisLlllderstnnding surfaces agltlln whell Pasulini

1Il

gives l1S all

conventions I-Ie ci tes the common COil ITIl

11 full

a cloud of sllloke This is ]lot he says a grmll111aLical

a stylcme J dont argue with this But such

Ilothing to do with cinelllatoQranhic svnlax For the latter illmlies

(I us return to Pasolini I-Ie hclievcs th~lt

Illar has nol hecll ahlc

gmllllllar tlwt is tl) say

It is never he sasli

urDl ~I rcaJ gmnllnar bllt rlthcr

SYSICIlI hetwcell 1Il Inc

CUl1lTlltiullS tbat han till pcculiarit or grallllllaticu I Ihis ltlIlIlysis which

unllllshygt

CltlI1shy

1llCpt ca lIs for t 110 remarks

believe ill the

shuws tklt Pasolinl hililscif

of allli I

cinclllllograpbic stratulll o[ prior to tile

222 THE MODERN CINEIA SOlJE THEORETICAL PROBLEIIS

a certaill numbcr of filmic constructiOlls and not just a certnin numshy

ber of fil1lled objects The image of the wheels of the trnin refers

neither to some by-passing of syntax nor on the other hand to

some fixed comcntionalized syntlctic expression it constitutes a fact

that is foreign to syntax a specific vismd element-having its own

form mel its own content-liable tu being ftlmed

Any properlv filmic syntagmatic Llct implies the conjunction of at

lea~t two visual c1elllents ()ccllrring ill twu imlges (lllont8ge) or in

the Slme image (camera muvelllent or even stltic implication) To

say that the illlage 01 the wheels of the trlin is a fact uf stylc is corshy

rect but insullicient it is a c1ich( a stereotype And it Gin he so only

because it is 1 ingular bct Crammar hls never dictated the content

of thought that cach sentcncc should have it mcrel) rcgu Lltcs thc

[cl1erll unalJilati()n of the sentences l UmllzlIll1tic([1 faci CIlII he ~ ~ 0

neither (cliche 1101 ([ IIUVelty unless it is so at the mOlllcnt of its first

historic11 occurrence it exists beyond the level where the llltithesis

clichln(elLy even begins to have a mCltll1ing-that i to SCI it reshy

mains COil lined to the stlge of the initial idiolll and not to t1wt or the

secondarv language or art The present or the imlicltin as used hy HohheCrillct is still 1 vulgar pre~cnt of tbe indicative entirely bashy

nd Jnd vet Jl() olle ]((U5(S it of l)(ing 1 clich And llO one ICClises

Malherhc III tritene~ ror using the ohjective prcdiclte or Victor

Hugo ror lIsillg the reLltiC clause or Baudelaire ror the conjullcshy

tion o two ldjcctivc The image of tbe whcels or the train is in IllJ

way the Iilmic equivllcnt to these examples mthll it would correshy

sp()nd til iVblhcrbe 1l1etlphorical comparison or 1 voung girl tu a

rose which is a silli_I1or eOllstructi()n (formal and ~emantic) and

must accordingly he judged lCcurding t() the Gltcgorie of originality

and tritcncss js long lS one consider such examples one will have

the clements not of a stylistic grammar of the cinema hut ()r 1 jiure

r71ctoric tbat has nothing grammatical lllel not very much cinelllatoshy

grltlphie about it for the image of the wheels 01 the train (zl1ld similar

images) most commonly represent cultural stereotypes which if they

He picked up-or even partially varied-by the cinema me picked up

and varied by other forms of expression as well There is a grammar of

THE JIODEJ1N CINEMA AND NAHHATlVlTV 223

the cineml (or to be eXlct there is a large syntagmatic categorv of the

liction lilm) but its location lies elsewhere In the scene in the seshy

quence ill the different syntagmas in the other types ] have menshy

tioned oilly too briefly in the structured signiFying ltlI1d stahililed

wntagmatic orderings which arc never clichts md were nmclties

unly once but which nwke up tbe scattered and disconnected cleshy

ments of a code of lilmic intelligihility (analogy ll1d dialogue COIlshy

stituting the rest) the stllllillcring eljuinlent of a real syntax lIld

not ofl list of singular cuntents or forms

Cinematugrlphic grammar docs not consist in pncribing hat

should he lilllled Alternate lllonlltlge For exmnplc simph dcterillinc

that the alternlting of ill1lges ill ~ignih the simultaneitv or the (or

repollding referents hut it says Ilothing ahout what is to enter those

illlages TIl( distinctioll hetween a lllcchlllicll and stcre(tYjwd gr~lll1-

lllltll mdl Free lgralllllwticil miginalit -] distincti()n that seeills t()

underlie S) llllIn discu5ions or the lllod(fTJ cilllnll- -is profoundly

llll(sti()J]lblch)J- a grallllllar since hv dcJlnitioll it is composed (illl)

uF stereotypes cannot he stercotyped and a certain free creative origishy

nllity is necessarily grllllmltical in one respect Of another From the

lllOlllent its llleage hecOIlles intelligible

I wallt to avoid a confusion that cngt]s up fre(llcntly ill this type I disshyellioll The analysis (lcveloped in tlis section is Hut in my way intcnded to ltIistinguisl ]etwccn form ill liln (which would bc a general categuv beshyyond 1 subdilisions of the original and thc banal ~ll~d colltent (vhich ()uld ~dvays he singll]arl~1ere~(Jre (1~pl1l(ljn7 on the ca~l original or lwnal) 1 he dtlllctHln between Imlll ~md (Dntent IllUSt be abs()lutclv rejected I believe the ullly solutioll Ihat seellls satis[aetorv to me is the one advanced hv the linguist Lmis Iljellnslcv which places the facls uf Ihe _sigllificale (content) to one side mel the acls uf I he sigllifier (which is erroneously considered to he the constituent or form and which ill I-Ijelmslcvian tcrminulugy constitutl ((expression) to lhe other side Nilh lt8ch 111111lbcr possessing its ovn fortn nnd substance (For the possible application of these cOllcepts to cinematoshygraphic malysis see Chapter 8 of this olume) The purpme of this discussion (1S to di~lillgllish Lctnrccn cUllstructiuns pecitic fa CillCJJlniograpl1ic 11111guoge ill

gelem1 and comtructions that occur in particular hlms Both have their signishyficr and their significatc (which is to say in ordinary bnguagc thcir form and their content) and these signillers and significates each have their own form and their own suhstance (form in this casc is taken in the sense that secms to me to bc the correct one) In other words I want to insist on the presence of a specific level of figures that by (lcfinition relatc to thc hlmic chicle itself-and thcsc arc thc hgurcs that actually dehne cincmatographic

224 THE 1VTODEl~N CINE A SOI[E THEOJ~ETJCiL rrOBT EJl

RecCl1lh~ certain linguists h8ve turned thcir ltlltentiltlll tu the prohshylel1l f purek sClllantic mom1lies (sentences that appem to be

grmllll1aticdly correct hut whose n1csslge doesnt COJllC thrnllgh)

[idmple lhe natali111 hr1ssie]l woll Ujl SLlddlllly ~ith 1 too 1pshy

IlnclldT p()stpr1J]clial rictus But in G1SeS lile this it is OllCe ll1ure

frolll the misundcrstllIcling of cerL1in structurd Cluircments oj dis~

bngl1~lgcn Illd I() ditin~llish it iroln an()ther sCllli()logiLltI level hich is jnci dcntdllv lulII] ullltrlSted t() the first ill tht it is hth les ~(JlCJi1 (since it C()llllnl- p~lrtic~lLH fllllls j and llOrc pcllcnd (since it illC()fl)()rltcs SYStClilS t]l~1t arl Icry Lwadly cllltliral and lelt etend bevund thc cinema ibeln ()ll this slc(Jlld lcvcl ()nc GIll SPL)l Dr the Ii()riginaiity Of trit(nc~ of individutl fl1nlo

(r tim lClsSaulS ltgt jJlm JUtcULs etc) lCc()rding ( whether the cultural ~y~tclllS hare lCC11 integrated ltl~ dIe) arc illt() tlH lilIn (ie ~tlrC(ltypcs-l (If

hllhcr Oil till (untcarl the lllll~mllI has rejected illClll dispbcl Ihelll Ided thclIl T iLdiel tlllIll etc

lllvcrtllekss it is true Ihal cillclEltovrallric Lliwllagc itslli is liable to be jUdglcJ ill llrIll~ )1 origillality (Jf l)Jllalit) fhis dlri~cs friJIll ((rUin or its char~ aLlcristics I hal drcldy Illllllilcci lt dues llt really cunstitutc 1 bnguagc YStC1I1 it 1 Il(Jt a pure grllllll~lr)) but 111 Inltiislcrllildc Illiturt ()r 2rllllllllll

Clm rhlluri jt ie 111lt)]( rl~adil ilduellced hv till illciiviciud l1lltiuIlS j 111ll~ maLers thl wittlll verbd 11Igllagcs lie by the iIHlividd crcatiuns r writlls j true vcrbll ltllgllagc---(~crlll~lll ()r Frcllcl--middotjc LHCr ill ibcll (lrj~illltil lr 1gtlna1 (ur i[ jt is it i sr ill a ump1ctely dilJcrent way m] Olle that is rreign t t11is alla1y~is as whcll (Inc ullllparcs (lllt vlrl)I1 llllgultlgc to uthcr vcrlnl ]angulgcj

III th dOIlill 1 tile cinema un dl( c()utrary it is ]1)ucL easier to find wmb th(l[ Cdll 1)( lhlrlltcri((] lt l)(illg 11l(l( ()r le~lt (Irigilla1 Oil 11( e((1 0 dIe 11111shy

~ll1~C ilcl) lLul 11raquot Pllh pn thc lell [ Iheir stvlc (examlk the PiClltjcll (ILiellec ill JCan~LlIc COllard film allltll) ed earlier IF Jill uscs 1olt IH1 Dartlws triple di~tillcti()11 lJd(cll Idll0IIC (crillfrc ~llld ~iJlc (bngLl-I~( SVStllll vritillg ~lnd ~tyk) ill C )cgft) ir() (Ic lcrillrc (rrjlill~ J)c~rc(

7cru) ULlC wi]] llotice thJt IicillCIlWl)graphi langllJge resclllhlcs vritill~ illSt ill Ihat it r(ITsCLlh a distillCI illslancl ut individual tyles hut that it i~ hOClT Il(lt (Infused itl1 (I bllgU(lgC sy~telll (llccrthck-s therc rCllldins a t1iJshyfercllcc betlleen the eincllla am1 til( dUllwin r the 1lLhl III the btter Til ing is distillct fCOlli langlLage) vhicl exists in tllL einclna it is JistillLl [rUll what might lie called a IaUgUClgC if that language listed It is precisL1y the l)(culi~lrity (d t)( cinCllla tlwt llat ~crvcs jt IS ~I bllgUlgC is in filet) 1 vrilshyillg-tl](lt l~ tt) ~ly sOlllcrhillg that i~ Ilut a ~tyll hut is less rddicalhT distjnct fnHll a style thall a lallgLl~lgC is

lJcsp-itl thi~ rc~crvatiull) Olle l11LL~l still be canti()lllt ltlhell speaking uf origishynality or twllality in the cinema not tl) hlIld1c thee (nec]ts ill the sOJJle

WH) ()r on the sanlC lccl acc)rding to vvhether onc js c()nsjderillg individllal Elms ltgtr llH]( r less original aspeets [ the general hlllguage of lilllls Thus 1 libn that I(wld borrow only what W1S m()st IJallal from cinematographic language coulclnevertheless be an original wurk wheleas a Iim in which all the particular construetiollS would be banal w(gtuld necCssarilv be a banal work

THE JIODERN CINEiJA AND NAnrATIvITY 225

course that the unintelligibility of the message derives It is nOl to bc

sure a matter of the grl71l1lJllltic(( strllcturc itself (at lelst in the usual

meaning of the term) but of the SClJll7ll1ic structurcs (that is to say

again grmmnatic81 in some way) of the French 1~1l1guage [or ill the

case of this translation of the English langL18ge-THANsLATon] (i J Greimas)-or then depending on the lingllistic schuol it is 1 qlllSshy

tion of certain actllally gramlllatiG11 subrulcs (Jel1l Duhois) that

11( sui1ieienti v Jine to be generally omitted from oHicial gramm1rS

hllt the ign(llltmcc of which results in sentences posscssing Farious deshy~rccs of agrallllllilticislll (Noall1 Chomskvl Thl1s the verb to 1 lee

up is scmmticall L()]np1tihlc within the same minimulll statcment

onlv with 111 animate subjcet or OllC l11clltll)horically lssimibtcd tu 1Il

lllimate subject (Thc dog wakes up Hojle W1S lv1tcncdi it

cuuld l10t lllvC For subject the term for a llonpers()nified itlnl or clothing (hrassierc in lilY cXll11plc) The adjellivC J)strt711diu is

used onlv with sllhstanties helonging to tll( cltcg0l of coclHstillsis

(sensations of flUIICSS helwillcss acidity slccillcss (lL) md C()llse

lll1cntly excillcies (exccpt in 1 specdly il1diC1tin contcxt) a substll1shy

tin like rictus Utc Now rcmemhcr tlllt cinem1togr1phic gralllmH

is not a re1l grmnm1r in the llsllal scnsc of the word hut simplv 1

budv of pntitlly codified scmllltic implications (or rinc grllllllllticd llllcs )

One of the lllost striking chlr1ctcristics of modcrn Jl1ms is that they

me in lllost cases highly umlcrsllt111cbble 111 this respect they (liffer

from vmiolls cxperimcntll films with their lvaLmchc of gratllitous

and marchic images against a hackgrollnd oj heterogcncous IJCIcus~

siolls capped by some ovcrblown want-gmdist texl On the contrary

thc cmancipated storics that the best modern Jllms me occasionally

able to tell liS Jiml in order to make themselves llndcrstood ven dishy

rect paths and they mobilize a sllflicicllt lIumber of true 1ceents of

memories peculim vet eommoll to everyone (and becomc so mlll)

analogical systcms in the intellection 01 the Jilm) for evell the slightly

experienced Spcctlt1tor to understlnd them more rapidly th8n hc would

understand the conventional narrltives 01 commercial production

whose advertised-and very real-conFormism does not cxclude (but

226 THE ~lODEPN C1NEilA SOilF TllEOHETlCAL lnOI3LEMS

JIllshy

illltha I arc never

they differ too mueh From

To contrast gralllma alld is thcrcFurc to eontmuimltc

lwo On the one hand there arc in the CinellE]

anel others tll]t arc less so Oil the other hand

there is CilllI11ltogrq)ilie gmllllllar with the mnbigw)lJs status of its

COllllotltioll that hls hccollll a means of denutatiun a thM

has hecolllc ] Thiclel status that is urccisclv rcsIJol1siblc for the

con fusion I have been

For it i indlcd trUl t1wt the com-

Illunicatioll of the literal

One

sh()t

lwriz()ntal and fWlltal ith no calllshy

era IllOVCllltllt at ]11 and no opticd dct (dissolvl ctc) with Ill)

tempor1 ellipsis no lighting othll thall Ollc that would be llllifulJlll

lIat 111d 1I() voices Iwsidcs thosc that would he strictly dicgetic

scrccn voices) lte But sllch a lilm w()uld hlrdlv rc~tlllhic the cineJlla

~it wunld he llHlf( lih- ] all

recorded hv the (ltlIlllfa Eycn Bouchs (urc dll Nord oldd ~CClll

like

tfllClllcllt

incIJ Olle at

is that ~Il(h film IllltiUis 111

Fact is that even dlC most colorless prose l zeromiddotdegrce

middotif llch a tlling cxits~wolild still ret]ill the codc of its

whosc fUllction ill the cillema is guarantecd by perccptual

ltIlHllogy tllltlt allows OllC if neccssary to economize on my

like (1l(liIicltion Hovvcver semiological description mustmiddot address itshy

self to the rcll cinema llot to an imaginary cinema Now he II1OI1Jellt tllnt the cinewa ellc01mteretl1wrratiFity~an encounter whose

eonse(lucnces eire if not inEnite at least not finished~it appears

it has sUDcrilllDosed over tbe message a second conmlex of

TIlE MODERN CINEtgtIA AND NAHHATIVITY 227

the image something tlwt has to GrifIlth mainly) ltllld

though it was originally intcnded to render the story more living

(to Hvoid a monotonous continuous iconic Bow ill shurt to connutc)

has nevertheless cnded bv multiplyillg thc modes of denotation and thus articnntillg the ll]Ust litc[ltllllllssagc of the films we know

v of the and richllcsS of the ll1odshy

ern and mOIl unalyzLll OJlC

dct]il than I have done tlWl all thcse llCW

arc made ill nhitioll to thl diegcsis and thlt lhc llCW cill

CilIa Im from lwving ]hll1dollCd the ll[lrrntiv( gives llS JlllTltllivcs

thilt 11( more diversilied 1llore rllllificd mel more

havc the spacc herl (I) bring this analysis which I hmc gUll 10 its proper cOllclusioJ1

how strfllHiC it is to hear

the breakdown 01 dlC narrative lit a timc whcn

] new of cinematographic narrators has COllle t(J the

whell vve have heen lblc to see [lJIllS like 11 Grido lAPIJCIIltf(l

111011 11IJ10 It r lH 11 riel Julcs ami Jilll at a lime whcn it ]pshy

pears that the autlHJI or Bcahlcss and Pierro Ie folt is only begin-

Ilis career and though this jihnmiddotmaker docs not ppcal til cvery

unc he lws 111l1llagcd nevertheless til impose himself (lJl the

attention amI it secms dillicult 110 to ill him a richness of

inventioll and a power to devclop and change in which it is

thnt lIot everyone can sCL~Llnclcr the L1lltlL ils forms have bcen rencwcd~the spccific lemUCf that characterizes the IJteat tdlers

of tales

The films mentioned in this text have heen chosen among those that had already heen produced and distributed ill the of 1966 when this article was written

186 THE 1IODERN CINEMA SOME TllEORET1CAL PHOBU2llS

directly narrative cinema where Olle galloped from shot to shot

ehe jllardore)7 Or finally it was a CillellJltl of Freedom open to Illulshya (inem] or contempJatiull and ohjcctivity which

authoritarian concatenatiolls of the classical film the theater substituting wise ell presellce for mise ell

who has rclleeted with

greal IHCClSIUIl Oil

cinem1 of pl)etrv silllulia

l1luativc

Finally for ill or the~( critics tbe recent pcriod has witnessed the

of a free eincllll ltl cincml perlllancntly 1ibcflttl([ fmlll the Sllp

rilles 0(

clCCOU III 0[

()r the movie spectacle in fmoJ

~()g( (rLlffaut) rejection of the too illlpcccahlc

ruILILlt aglill) rejection (IF the to() evident signlt that do violence

tu the allllligllity of fcllity CBai rejcctioil ()f the pseu(]oWlltactic

arsend dln t() the old theorctici111 S (Leell1wnIt) rejecti()1l of d IC

1S well as I he lIIuvic spectltk ill favur of a cinshy

d(crilllfCl a docile mel Hcxihle lllell1S of

JIv purpose ill tllis text is not III take up arllls my Olle 01

the(middot ltlllalyses~cspelidl) since cadI one of thclIl contains to my IlIlnd I grcll deal of truth~bl1l rather to confronl by Illlm of a

sliccessive (and never total) questioning of these different

a great libcrt(friall lIIyth which is nul fully cxpressed ill my olle of

the analvses bUl which underlies diem all mel aclt]lles them all (exshy

theatrical and hv extension fdmic term for the the crealio1 f lOts and til( 1 a

n more direct

THE MODEBN CINEMA AND NATIRATIVITY

cepl for the ideas of Pier Paolo raise difshyfcren t though lela ted I)roblcms will

Let 1I1e be clear 1lHse analyses I am about to (lllcstiull have the

gol mel the effect of supporting lilms that J like films that I still

view withollt boredom They art decply linked to the grldllll risc

and cventual t1iU11]])11-at least fur largc of the cultivated

cinema that is alilc toLla yen- Tu ignore Jeltln

10 excludc oJ]cself

able [0 aceOllllt fur tructurally----that in every period Jill] for every art the

lIord IS diversified as it may be is n(vcrtheless to he rOLlnd ill 1 sillshy

gle locus And even j I th is loclls GIl1 ll first he ]ec()gni7tlJ only hy t b(

it ra(lilt1tcs~glill1tl1cril1gs thM hcc()Jl1t larger llllj l110re

intense IS we lppn aell thei r SOil rcc~ it is dOll htles his pri Illl (vi

Ii [sl (xDcliencvli in Ihe (JlIotiulwl

our rellcctJoll incc

of this rdlcdioJ1 is to reduce the distall(( inili11 ellorlllOUS COll1l1Wllphlcc Illd Listressl I he emol iun or the CI

viction hom its clarilicatioJ1 the or 1i lin from its 1]]eta ]111shy

gUlge lIorcOHI one IIlLlst1]nt forget t1wt a critic is llCITr altogllhel

a theoretician but that he is dways something (II I miliulJl 111(1 tlmt

two cinenls left that call iutcrcsl liS

cillClIla to which t1~is article devoted lhe American

uninlcllcctual it lingers on

ftell in the form or the vanls1er [ihn

t) lt)

a great cinema a cinema without problems where onc was ncver bored The sllcC(si()n~to the extent that it is llo1 taken tip by the living cinema will one fean be assumed by a cinema burdened with ideologics anti dubiolls gOl)(1 will

Potato T1ro 10lt10 Dapid allll Lisa intellectual fIlms replete- with intentiolls based Oil the ielea that art cnl1 reach the human by elishy

wlwreas it can unly attnin it after a speCific cletour~nt any rate in like our own



ema is



if not 1]) the

at least 10 tlla


II





















leaps too asinvoked
















111

tnll hetter thm


he In spcc1l-

1llfC spcdClclls

to deflnc Whlt the








T I














) lJ1d









d )ciell)

etc 2 Olle PIrt



























life under

OIle








C]1l]( for a

stlges oj 1















each other

the

cil1(lI1a








SOl ria lIS by an

as dead










194 THE i

MODUHNH








diem fro III that

S](ln

form of

fmc IlO Ijlll1 Or

very

llucve r


he lost

He

ur

I iema I


in the

widest scnse

cIlls 11 J(1Il Y

of the alTragc


A FIlNDAIENTAL


contained a to




noegt






I hell is






and

lei llalizcs

nol the

tll1t

Lind of in110shy

exempt from

discursive

introduces- shy



from tbe enormous

of some










Incxshy








thetic



~hltJll]d





viewer with

in the



llslincshy

vOice























I somc or the nshy

tonioni










adolesccnts









consecjl1e)lcc




with which one

of the films of






















Clllltl 1shy



















The lillll of the

til is

of



is well known

lield
















dnt C11l0shy

















or ]the


sea Pllis 1

hie with story


UIlC SIHll~titnes




all llew novel]




llovd is almust an


and the l1-W as



and the same










cinellla ~md not











in the nd r









one sees







in

sense (gt1



restrictions


idi()m 1lsolini is

with


cncounshy













llTIlin av frolH








Su oj Pas(lini- II












or Dewier aloul

of



C1l) onc


fnr tl1C












from

____ _






























or i


























L










III

dUII1lIllali(HI

Ihcilll lIld I

11111

llld

Ihe invisihlc

f()r Ihe

the


Licit

)[sul 11111

Ik rell

CIs (111(1111

t Illlml

hese

or I hc

[allln

lllti





lIludern eillCJll~L







l n d llempl is









flhllic narrative

cunlllry t1Jlt1t

so md thll

enriched the









arc to he sough in










de SllISshy







-





aim is to

but it admits tu

verbal Imwuwe the







her (lll










llalTlt ive lllt

vith ll() rdatioll


to the












lt1ny















Ilew Llilguagc

IV






pressions

1






















whieb always

or a I lcust codi


an inJeJ






1 _etc) awl thai







I (I I Ill llih 1

Illy 1)


mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti








iL tu Llkc 1

Cdr III


dicillllilV

llt1J11ll H



)11) thai






















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales




ema is



if not 1]) the

at least 10 tlla


II





















leaps too asinvoked
















111

tnll hetter thm


he In spcc1l-

1llfC spcdClclls

to deflnc Whlt the








T I














) lJ1d









d )ciell)

etc 2 Olle PIrt



























life under

OIle








C]1l]( for a

stlges oj 1















each other

the

cil1(lI1a








SOl ria lIS by an

as dead










194 THE i

MODUHNH








diem fro III that

S](ln

form of

fmc IlO Ijlll1 Or

very

llucve r


he lost

He

ur

I iema I


in the

widest scnse

cIlls 11 J(1Il Y

of the alTragc


A FIlNDAIENTAL


contained a to




noegt






I hell is






and

lei llalizcs

nol the

tll1t

Lind of in110shy

exempt from

discursive

introduces- shy



from tbe enormous

of some










Incxshy








thetic



~hltJll]d





viewer with

in the



llslincshy

vOice























I somc or the nshy

tonioni










adolesccnts









consecjl1e)lcc




with which one

of the films of






















Clllltl 1shy



















The lillll of the

til is

of



is well known

lield
















dnt C11l0shy

















or ]the


sea Pllis 1

hie with story


UIlC SIHll~titnes




all llew novel]




llovd is almust an


and the l1-W as



and the same










cinellla ~md not











in the nd r









one sees







in

sense (gt1



restrictions


idi()m 1lsolini is

with


cncounshy













llTIlin av frolH








Su oj Pas(lini- II












or Dewier aloul

of



C1l) onc


fnr tl1C












from

____ _






























or i


























L










III

dUII1lIllali(HI

Ihcilll lIld I

11111

llld

Ihe invisihlc

f()r Ihe

the


Licit

)[sul 11111

Ik rell

CIs (111(1111

t Illlml

hese

or I hc

[allln

lllti





lIludern eillCJll~L







l n d llempl is









flhllic narrative

cunlllry t1Jlt1t

so md thll

enriched the









arc to he sough in










de SllISshy







-





aim is to

but it admits tu

verbal Imwuwe the







her (lll










llalTlt ive lllt

vith ll() rdatioll


to the












lt1ny















Ilew Llilguagc

IV






pressions

1






















whieb always

or a I lcust codi


an inJeJ






1 _etc) awl thai







I (I I Ill llih 1

Illy 1)


mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti








iL tu Llkc 1

Cdr III


dicillllilV

llt1J11ll H



)11) thai






















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales


T I














) lJ1d









d )ciell)

etc 2 Olle PIrt



























life under

OIle








C]1l]( for a

stlges oj 1















each other

the

cil1(lI1a








SOl ria lIS by an

as dead










194 THE i

MODUHNH








diem fro III that

S](ln

form of

fmc IlO Ijlll1 Or

very

llucve r


he lost

He

ur

I iema I


in the

widest scnse

cIlls 11 J(1Il Y

of the alTragc


A FIlNDAIENTAL


contained a to




noegt






I hell is






and

lei llalizcs

nol the

tll1t

Lind of in110shy

exempt from

discursive

introduces- shy



from tbe enormous

of some










Incxshy








thetic



~hltJll]d





viewer with

in the



llslincshy

vOice























I somc or the nshy

tonioni










adolesccnts









consecjl1e)lcc




with which one

of the films of






















Clllltl 1shy



















The lillll of the

til is

of



is well known

lield
















dnt C11l0shy

















or ]the


sea Pllis 1

hie with story


UIlC SIHll~titnes




all llew novel]




llovd is almust an


and the l1-W as



and the same










cinellla ~md not











in the nd r









one sees







in

sense (gt1



restrictions


idi()m 1lsolini is

with


cncounshy













llTIlin av frolH








Su oj Pas(lini- II












or Dewier aloul

of



C1l) onc


fnr tl1C












from

____ _






























or i


























L










III

dUII1lIllali(HI

Ihcilll lIld I

11111

llld

Ihe invisihlc

f()r Ihe

the


Licit

)[sul 11111

Ik rell

CIs (111(1111

t Illlml

hese

or I hc

[allln

lllti





lIludern eillCJll~L







l n d llempl is









flhllic narrative

cunlllry t1Jlt1t

so md thll

enriched the









arc to he sough in










de SllISshy







-





aim is to

but it admits tu

verbal Imwuwe the







her (lll










llalTlt ive lllt

vith ll() rdatioll


to the












lt1ny















Ilew Llilguagc

IV






pressions

1






















whieb always

or a I lcust codi


an inJeJ






1 _etc) awl thai







I (I I Ill llih 1

Illy 1)


mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti








iL tu Llkc 1

Cdr III


dicillllilV

llt1J11ll H



)11) thai






















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales








C]1l]( for a

stlges oj 1















each other

the

cil1(lI1a








SOl ria lIS by an

as dead










194 THE i

MODUHNH








diem fro III that

S](ln

form of

fmc IlO Ijlll1 Or

very

llucve r


he lost

He

ur

I iema I


in the

widest scnse

cIlls 11 J(1Il Y

of the alTragc


A FIlNDAIENTAL


contained a to




noegt






I hell is






and

lei llalizcs

nol the

tll1t

Lind of in110shy

exempt from

discursive

introduces- shy



from tbe enormous

of some










Incxshy








thetic



~hltJll]d





viewer with

in the



llslincshy

vOice























I somc or the nshy

tonioni










adolesccnts









consecjl1e)lcc




with which one

of the films of






















Clllltl 1shy



















The lillll of the

til is

of



is well known

lield
















dnt C11l0shy

















or ]the


sea Pllis 1

hie with story


UIlC SIHll~titnes




all llew novel]




llovd is almust an


and the l1-W as



and the same










cinellla ~md not











in the nd r









one sees







in

sense (gt1



restrictions


idi()m 1lsolini is

with


cncounshy













llTIlin av frolH








Su oj Pas(lini- II












or Dewier aloul

of



C1l) onc


fnr tl1C












from

____ _






























or i


























L










III

dUII1lIllali(HI

Ihcilll lIld I

11111

llld

Ihe invisihlc

f()r Ihe

the


Licit

)[sul 11111

Ik rell

CIs (111(1111

t Illlml

hese

or I hc

[allln

lllti





lIludern eillCJll~L







l n d llempl is









flhllic narrative

cunlllry t1Jlt1t

so md thll

enriched the









arc to he sough in










de SllISshy







-





aim is to

but it admits tu

verbal Imwuwe the







her (lll










llalTlt ive lllt

vith ll() rdatioll


to the












lt1ny















Ilew Llilguagc

IV






pressions

1






















whieb always

or a I lcust codi


an inJeJ






1 _etc) awl thai







I (I I Ill llih 1

Illy 1)


mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti








iL tu Llkc 1

Cdr III


dicillllilV

llt1J11ll H



)11) thai






















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales


194 THE i

MODUHNH








diem fro III that

S](ln

form of

fmc IlO Ijlll1 Or

very

llucve r


he lost

He

ur

I iema I


in the

widest scnse

cIlls 11 J(1Il Y

of the alTragc


A FIlNDAIENTAL


contained a to




noegt






I hell is






and

lei llalizcs

nol the

tll1t

Lind of in110shy

exempt from

discursive

introduces- shy



from tbe enormous

of some










Incxshy








thetic



~hltJll]d





viewer with

in the



llslincshy

vOice























I somc or the nshy

tonioni










adolesccnts









consecjl1e)lcc




with which one

of the films of






















Clllltl 1shy



















The lillll of the

til is

of



is well known

lield
















dnt C11l0shy

















or ]the


sea Pllis 1

hie with story


UIlC SIHll~titnes




all llew novel]




llovd is almust an


and the l1-W as



and the same










cinellla ~md not











in the nd r









one sees







in

sense (gt1



restrictions


idi()m 1lsolini is

with


cncounshy













llTIlin av frolH








Su oj Pas(lini- II












or Dewier aloul

of



C1l) onc


fnr tl1C












from

____ _






























or i


























L










III

dUII1lIllali(HI

Ihcilll lIld I

11111

llld

Ihe invisihlc

f()r Ihe

the


Licit

)[sul 11111

Ik rell

CIs (111(1111

t Illlml

hese

or I hc

[allln

lllti





lIludern eillCJll~L







l n d llempl is









flhllic narrative

cunlllry t1Jlt1t

so md thll

enriched the









arc to he sough in










de SllISshy







-





aim is to

but it admits tu

verbal Imwuwe the







her (lll










llalTlt ive lllt

vith ll() rdatioll


to the












lt1ny















Ilew Llilguagc

IV






pressions

1






















whieb always

or a I lcust codi


an inJeJ






1 _etc) awl thai







I (I I Ill llih 1

Illy 1)


mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti








iL tu Llkc 1

Cdr III


dicillllilV

llt1J11ll H



)11) thai






















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales



from tbe enormous

of some










Incxshy








thetic



~hltJll]d





viewer with

in the



llslincshy

vOice























I somc or the nshy

tonioni










adolesccnts









consecjl1e)lcc




with which one

of the films of






















Clllltl 1shy



















The lillll of the

til is

of



is well known

lield
















dnt C11l0shy

















or ]the


sea Pllis 1

hie with story


UIlC SIHll~titnes




all llew novel]




llovd is almust an


and the l1-W as



and the same










cinellla ~md not











in the nd r









one sees







in

sense (gt1



restrictions


idi()m 1lsolini is

with


cncounshy













llTIlin av frolH








Su oj Pas(lini- II












or Dewier aloul

of



C1l) onc


fnr tl1C












from

____ _






























or i


























L










III

dUII1lIllali(HI

Ihcilll lIld I

11111

llld

Ihe invisihlc

f()r Ihe

the


Licit

)[sul 11111

Ik rell

CIs (111(1111

t Illlml

hese

or I hc

[allln

lllti





lIludern eillCJll~L







l n d llempl is









flhllic narrative

cunlllry t1Jlt1t

so md thll

enriched the









arc to he sough in










de SllISshy







-





aim is to

but it admits tu

verbal Imwuwe the







her (lll










llalTlt ive lllt

vith ll() rdatioll


to the












lt1ny















Ilew Llilguagc

IV






pressions

1






















whieb always

or a I lcust codi


an inJeJ






1 _etc) awl thai







I (I I Ill llih 1

Illy 1)


mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti








iL tu Llkc 1

Cdr III


dicillllilV

llt1J11ll H



)11) thai






















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales










I somc or the nshy

tonioni










adolesccnts









consecjl1e)lcc




with which one

of the films of






















Clllltl 1shy



















The lillll of the

til is

of



is well known

lield
















dnt C11l0shy

















or ]the


sea Pllis 1

hie with story


UIlC SIHll~titnes




all llew novel]




llovd is almust an


and the l1-W as



and the same










cinellla ~md not











in the nd r









one sees







in

sense (gt1



restrictions


idi()m 1lsolini is

with


cncounshy













llTIlin av frolH








Su oj Pas(lini- II












or Dewier aloul

of



C1l) onc


fnr tl1C












from

____ _






























or i


























L










III

dUII1lIllali(HI

Ihcilll lIld I

11111

llld

Ihe invisihlc

f()r Ihe

the


Licit

)[sul 11111

Ik rell

CIs (111(1111

t Illlml

hese

or I hc

[allln

lllti





lIludern eillCJll~L







l n d llempl is









flhllic narrative

cunlllry t1Jlt1t

so md thll

enriched the









arc to he sough in










de SllISshy







-





aim is to

but it admits tu

verbal Imwuwe the







her (lll










llalTlt ive lllt

vith ll() rdatioll


to the












lt1ny















Ilew Llilguagc

IV






pressions

1






















whieb always

or a I lcust codi


an inJeJ






1 _etc) awl thai







I (I I Ill llih 1

Illy 1)


mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti








iL tu Llkc 1

Cdr III


dicillllilV

llt1J11ll H



)11) thai






















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales





Clllltl 1shy



















The lillll of the

til is

of



is well known

lield
















dnt C11l0shy

















or ]the


sea Pllis 1

hie with story


UIlC SIHll~titnes




all llew novel]




llovd is almust an


and the l1-W as



and the same










cinellla ~md not











in the nd r









one sees







in

sense (gt1



restrictions


idi()m 1lsolini is

with


cncounshy













llTIlin av frolH








Su oj Pas(lini- II












or Dewier aloul

of



C1l) onc


fnr tl1C












from

____ _






























or i


























L










III

dUII1lIllali(HI

Ihcilll lIld I

11111

llld

Ihe invisihlc

f()r Ihe

the


Licit

)[sul 11111

Ik rell

CIs (111(1111

t Illlml

hese

or I hc

[allln

lllti





lIludern eillCJll~L







l n d llempl is









flhllic narrative

cunlllry t1Jlt1t

so md thll

enriched the









arc to he sough in










de SllISshy







-





aim is to

but it admits tu

verbal Imwuwe the







her (lll










llalTlt ive lllt

vith ll() rdatioll


to the












lt1ny















Ilew Llilguagc

IV






pressions

1






















whieb always

or a I lcust codi


an inJeJ






1 _etc) awl thai







I (I I Ill llih 1

Illy 1)


mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti








iL tu Llkc 1

Cdr III


dicillllilV

llt1J11ll H



)11) thai






















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales




dnt C11l0shy

















or ]the


sea Pllis 1

hie with story


UIlC SIHll~titnes




all llew novel]




llovd is almust an


and the l1-W as



and the same










cinellla ~md not











in the nd r









one sees







in

sense (gt1



restrictions


idi()m 1lsolini is

with


cncounshy













llTIlin av frolH








Su oj Pas(lini- II












or Dewier aloul

of



C1l) onc


fnr tl1C












from

____ _






























or i


























L










III

dUII1lIllali(HI

Ihcilll lIld I

11111

llld

Ihe invisihlc

f()r Ihe

the


Licit

)[sul 11111

Ik rell

CIs (111(1111

t Illlml

hese

or I hc

[allln

lllti





lIludern eillCJll~L







l n d llempl is









flhllic narrative

cunlllry t1Jlt1t

so md thll

enriched the









arc to he sough in










de SllISshy







-





aim is to

but it admits tu

verbal Imwuwe the







her (lll










llalTlt ive lllt

vith ll() rdatioll


to the












lt1ny















Ilew Llilguagc

IV






pressions

1






















whieb always

or a I lcust codi


an inJeJ






1 _etc) awl thai







I (I I Ill llih 1

Illy 1)


mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti








iL tu Llkc 1

Cdr III


dicillllilV

llt1J11ll H



)11) thai






















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales








one sees







in

sense (gt1



restrictions


idi()m 1lsolini is

with


cncounshy













llTIlin av frolH








Su oj Pas(lini- II












or Dewier aloul

of



C1l) onc


fnr tl1C












from

____ _






























or i


























L










III

dUII1lIllali(HI

Ihcilll lIld I

11111

llld

Ihe invisihlc

f()r Ihe

the


Licit

)[sul 11111

Ik rell

CIs (111(1111

t Illlml

hese

or I hc

[allln

lllti





lIludern eillCJll~L







l n d llempl is









flhllic narrative

cunlllry t1Jlt1t

so md thll

enriched the









arc to he sough in










de SllISshy







-





aim is to

but it admits tu

verbal Imwuwe the







her (lll










llalTlt ive lllt

vith ll() rdatioll


to the












lt1ny















Ilew Llilguagc

IV






pressions

1






















whieb always

or a I lcust codi


an inJeJ






1 _etc) awl thai







I (I I Ill llih 1

Illy 1)


mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti








iL tu Llkc 1

Cdr III


dicillllilV

llt1J11ll H



)11) thai






















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales


____ _






























or i


























L










III

dUII1lIllali(HI

Ihcilll lIld I

11111

llld

Ihe invisihlc

f()r Ihe

the


Licit

)[sul 11111

Ik rell

CIs (111(1111

t Illlml

hese

or I hc

[allln

lllti





lIludern eillCJll~L







l n d llempl is









flhllic narrative

cunlllry t1Jlt1t

so md thll

enriched the









arc to he sough in










de SllISshy







-





aim is to

but it admits tu

verbal Imwuwe the







her (lll










llalTlt ive lllt

vith ll() rdatioll


to the












lt1ny















Ilew Llilguagc

IV






pressions

1






















whieb always

or a I lcust codi


an inJeJ






1 _etc) awl thai







I (I I Ill llih 1

Illy 1)


mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti








iL tu Llkc 1

Cdr III


dicillllilV

llt1J11ll H



)11) thai






















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales











III

dUII1lIllali(HI

Ihcilll lIld I

11111

llld

Ihe invisihlc

f()r Ihe

the


Licit

)[sul 11111

Ik rell

CIs (111(1111

t Illlml

hese

or I hc

[allln

lllti





lIludern eillCJll~L







l n d llempl is









flhllic narrative

cunlllry t1Jlt1t

so md thll

enriched the









arc to he sough in










de SllISshy







-





aim is to

but it admits tu

verbal Imwuwe the







her (lll










llalTlt ive lllt

vith ll() rdatioll


to the












lt1ny















Ilew Llilguagc

IV






pressions

1






















whieb always

or a I lcust codi


an inJeJ






1 _etc) awl thai







I (I I Ill llih 1

Illy 1)


mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti








iL tu Llkc 1

Cdr III


dicillllilV

llt1J11ll H



)11) thai






















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales






aim is to

but it admits tu

verbal Imwuwe the







her (lll










llalTlt ive lllt

vith ll() rdatioll


to the












lt1ny















Ilew Llilguagc

IV






pressions

1






















whieb always

or a I lcust codi


an inJeJ






1 _etc) awl thai







I (I I Ill llih 1

Illy 1)


mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti








iL tu Llkc 1

Cdr III


dicillllilV

llt1J11ll H



)11) thai






















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales


1






















whieb always

or a I lcust codi


an inJeJ






1 _etc) awl thai







I (I I Ill llih 1

Illy 1)


mlinlbliol1s

Df its 1l101H1lHS

alld cIII Inti








iL tu Llkc 1

Cdr III


dicillllilV

llt1J11ll H



)11) thai






















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales

















cudcs)







the misshy

the fact

lhat it is




CillCI1Ltloshy

()J1(C lire] ore






-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales


-1





conventional


result of the



lructll res uch ~IS













OIl



















which

scene

flgu res

Let LIS COlJ-







le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales



le1( the

1l1d Hee



the frOI t of the

of the darF














atcrnlshy




it


















Llccd


claimed lIe IS




of 1Ilind















statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales





statnes of Octol)el






11 1Il

is the voice or an





anunymolls COIIlshy




















Fil liS 1957 p 131







llbert tlllncd

illscrilwd






10 reCollstrllct









1Il

gives l1S all


11 full











unllllshygt

CltlI1shy


believe ill the


of allli I













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales













































































































JIllshy

illltha I arc never











One

sh()t








like

tfllClllcllt

incIJ Olle at

































of tales


christian metz_ the modern cinema and narrativity

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