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关于JSTOR档案库的使用研究:What Novels Can Do That Films Can't (And Vice Versa) [15]

论文作者:留学生论文论文属性:案例分析 Case Study登出时间:2011-01-20编辑:anterran点击率:13505

论文字数:8068论文编号:org201101201026245946语种:英语论文 English地区:美国价格:免费论文

关键词:STOR档案库使用研究NovelsFilms

g, and, yes, even
enjoying them.
A comment by Roy Schafer was more useful. Schafer argued that the close-up of
Henriette on the swing conveyed to him something of her sexual pleasure. It is not difficult
to agree that swinging is easily allied to sexuality. The attribution goes along perfectly with
other motifs of innocent, preconscious sexuality, of "showing her limbs," and of the vague
feelings of longing for even the tiny things that move under the leaves and grass that
Henriette expresses to her mother a bit later in the film. I think Schafer is right: the
point of view could also be attributed to Henriette. But that causes no theoretical problem.
Two points of view can exist concurrently in a single shot. It is an interesting property of
cinematic narrative that we can see through one character's eyes and feel through
another's heart. The camera adopts a position, an angle, and a distance which by convention
associates itself with the position, angle, and distance of a character's vision. But so
great is its capacity to inspire identification with characters' thinking, feeling, and general
situation that we tend to identify even when the character appears to us in a completely
frontal view. This sympathetic or "interest" point of view (as I call it) is particularly strong
美国留学生论文代写in film narratives and can easily combine with the more conventionally marked perceptual
point of view.
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