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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: http://www.film-philosophy/com/vol4-2000/no10debaise 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). > > ______________________________________________________________________ > Post your free ad now! http://personals.yahoo.ca >