Sorry,
Links corrected:
http://www.tau.ac.il/~haim/s-chaptr.htm#top
http://www.film-philosophy.com/vol4-2000/n10debaise
Cinematic represention of characters' thoughts is the subject of my
book. You can take a look at it:
http://www.tau.ac.il/~haim/s-chapt.htm#top
Review at Film-Philosophy:
> Quoting Rob Ruzic <[log in to unmask]>:
>
> >> Then there are films that express a character's
> > thoughts. - Alain Resnais' Providence shows us the
> > creative process in action as a novelist spends a
> > sleepless night struggling with his latest creation
> > and we see it taking shape. There are films that show
> > us the characters thoughts as dream states (Mulholland
> > Drive and Waking Life being recent examples). And
> > there are films that depend heavily on flashbacks
> > (character's thoughts as memory).
> >
> > When it's a character's thoughts that are being shown,
> > I don't think there's anything specific about the
> > shots themselves that signify: thought. Rather, it's
> > in the editing, in the juxtaposition of shots. Look
> > at the Limey and all the recurring shots of Terence
> > Stamp on the airplane, distractedly staring out the
> > window. How do those shots affect the shots around
> > them? Is the whole film a representation of Wilson's
> > thoughts as, on his way back to England, he goes over
> > in his mind what happened in California?
> >
> > Of course, we don't need to see the thinker to know
> > we're seeing thoughts - is the protagonist/narrator of
> > Last Year at Marienbad remembering an event,
> > aniticipating it or simply dreaming it all up? We
> > don't know, because we don't see him outside of the
> > subjective labyrinth of his thoughts. But still, we
> > know that this isn't "real" - the style of the editing
> > suggests something closer to the way the mind works
> > than to the way objective reality (whatever that is)
> > operates. (Resnais' work is full of examples of
> > editing strategies that mimic the thought process).
> >
> >
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