1. Gérard Genette, Narrative Discourse: An Essay in Method , trans. Jane F. Lewin. Ithaca, NY: Cornell University Press, 1980, pp. 113-117. [BACK]

2. Brian Henderson, "Tense, Mood, and Voice in Film (Notes After Genette)," Film Quarterly , XXXVI, No. 4 (Summer 1983), 11-12. [BACK]

3. Roland Barthes, "The Rhetoric of the Image," in Image, Music, Text , trans. by Stephen Heath. New York: Noonday Press, 1977, p. 40. [BACK]

4. Edward Branigan develops this kind of argument in Point of View in the Cinema , where (explicitly echoing Genette) he observes that whereas "in a verbal narrative the temporal determinations of the narrating act are more salient than the spatial determinations. By contrast, this dissymmetry is exactly reversed in pictorial narration . . . The spatial properties of a picture are at least initially more important than other properties and hence may serve as a reference with which to measure the general activity of narration." Edward R. Branigan, Point of View in the Cinema: A Theory of Narration and Subjectivity in Classical Film . New York: Mouton Publishers, 1984, p. 45. [BACK]

5. According to Laura Mulvey, "Sadism demands a story, depends on making something happen, forcing a change in another person, a battle of will and strength, victory/defeat, all occuring in a linear time with a beginning and an end." ("Visual Pleasure and Narrative Cinema," Screen [Autumn 1975]). Teresa de Lauretis reverses the formulation, suggesting that all traditional male-dominated narrative demands sadism, figuring women only as obstacles that delay the male quest or as markers of the positions and settings through which the hero and his story move to reach their destination and to accomplish meaning. (Alice Doesn't: Feminism, Semiotics, Cinema . Bloomington: Indiana University Press, 1984, pp. 103-119.) [BACK]

6. André Bazin, " Umberto D : A Great Work," in What Is Cinema ?, Vol. II, trans. and ed. by Hugh Gray. Berkeley: University of California Press, 1971, p. 81. [BACK]

7. Roland Barthes, Writing Degree Zero and Elements of Semiology , trans. Annette Lavers and Colin Smith. Boston: Beacon Press, 1970, p. 86. For an application of this principle to the narrative experimentation of Luis Buñuel, see also Susan Suleiman, "Freedom and Necessity: Narrative Structure in The Phantom of Liberty," Quarterly Review of Film Studies (Summer 1978), 277-295. [BACK]