6 OBJECTIVITY AND UNCERTAINTY

1  The terminology I am using to describe discovered, delayed, and open variants of the POV shot derives from Edward Branigan, Point of View in the Cinema: A Theory of Narration and Subjectivity in Classical Film (New York and Berlin: Mouton, 1984), chap. 5, “The Point-of-view Shot,” pp. 111, 113–14; and cf. p. 120 n. 13. This chapter, based on a 1975 article, has been reprinted with minor corrections in Movies and Methods: An Anthology, vol. II, ed. by Bill Nichols (Berkeley and Los Angeles: University of California Press, 1985), pp. 681, 683–4; and cf. p. 689 n. 13.

2  A shot of S in a POV structure (S, O) prior to a shot of what is seen by S performs at least the introductory function that a tag clause does for ...

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