Point of View in the Cinema: A Theory of Narration and Subjectivity in Classical Film

by Edward R. Branigan

Branigan effectively criticizes the communication model of narration, a task long overdue in Anglo-American circles. The book brings out the extent to which mainstream mimetic theories have relied upon the elastic notion of an invisible, idealized observer, a convenient spook whom critics can summon up whenever they desire to naturalize style. The book also makes distinctions among types of subjectivity; after this, we will have much more precise ways of tracing the fluctuations among a character's vision, dreams, wishes, and so forth. Branigan also explains the necessity of distinguishing levels of narration.

262 pages, Hardcover

First published January 1, 1984

Reviews

[Martin Riexinger · Rating 4 out of 5]

First a brilliant analysis of how subjectivity is established in film by using Point of View shots and other means. He discusses in detail how these kind of shots were used in different genres and cinematic cultures, whether they are "explained" beforehand or whether the explanation is suspended, how language is used (or not), which devices are used to express altered state of mind. Branigan addresses both the technicalities and the theoretical aspects.
His argument is based on a broad selection of American, European and Japanese movies, both of the more conventional and avantgardistic type.

In the last chapter and the appendix the author overstretches himself with his attempt to formulate a general narrative theory of film. He does not explain his concepts well and engages in polemics.