Cover; Contents; List of Figures; Acknowledgments; Part I. Introductory Chapters; General Introduction; 1. Narrative and Narration: Some Rudiments; Part II. Narratives and Narration; 2. Le Grand Imagier Steps Out: On the Primitive Basis of Film Narration; 3. The Imagined Seeing Thesis; 4. Le Grand Imagier in Review; Part III. Narrators: In Literature and Film; 5. Elusive Narrators in Literature; 6. Elusive Narrators in Film; Part IV. Some Strategies of Film Narration: Point of View; 7. Transparency and Twist in Narrative Fiction Film
8. Transfiguration and Self-Conscious Narration: On Von Sternberg's Last Films with Dietrich9. Love and Bullshit in Santa Rosa: Pastiche in The Man Who Wasn't There; Bibliography; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; P; R; T; V; W
Summary
What happens when we view a movie? Do we actually see the fiction, and if so how? Literary fiction is recounted by a voice of some sort - the narrator. George M. Wilson explores the strategies of cinematic narration, and argues that this prompts viewers to imagine seeing and hearing events in the fictional world
Bibliography
Includes bibliographical references (pages 215-218) and index
