IN the Mood...

There are numerous directions one could take in discussing this film, the least of which seems to be the story. Thus, narrative...The almost invisible shifts (particularly in the filmic tradition) in time often confuses the story in some manner. We cannot always tell when time has changed or when the characters change (as when they are "playing" the roles of their spouses). The camera (and costumes) provide only discrete clues to such shifts. How do these affect the story and the viewer's relationship with such?

In class we are also interested in hearing from you concerning your final paper, which you should already be researching and formulating (at least) if not writing.

Feeling kinda Moody

We will be talking about the relationship between the verbal dexterity of Moody's novel and the ways that Lee handles such in his film. That is, the use of a guiding voice throughout the novel is easy to identify in the voice-over of the film, but the complications and differences extend well beyond this overt narrational difference. How might the narrational choices affect our relationship to the texts?

It's somehow that the book's style leads to its story (rather than the usual reversal, which would be a marker of realism). That is, we know that we are reading when we are reading (it's in contrast to cinema's invisible style, it seems). What might be the cinematic equivalent of this literary style? 

8 1/2 and Borges

I know that several of you are trying to start a new thread on this blog with no success. I am not sure what the problem is. So, use this as the start. Others: read along and respond.  And, I realize that this week's notes did not make a smooth transition to the webpage; I will bring them along on Tuesday.