Narration in Film

A typical device in film is to have a character narrating what is going on, but this narration is not always a reliable guide to the events. According to Maier, distortions may be caused by the narrator’s intent, naivety, use of drugs, and/or cognitive disorder/illness. What is common to these various causes, he argues, is the presence of a point of view, which appears in a movie as shots. While this perspective-based account of unreliability covers most cases, I unpack its (...) methodological consequences and gesture at a possibility that Maier’s analysis overlooks. A narration, I suggest, can be unreliable simply because it is ill-timed with the events shown on screen. In such a case, the distortion is not due to any character’s point of view; rather, it comes from the film medium’s ability to divorce what is seen and what is heard. As a consequence of this mismatch, it is possible to have a reliable narrator but an unreliable narration. Since voice and context of utterance usually match in ordinary speech, I conclude that philosophy of language may be ill-suited to properly understand this particular phenomenon. (shrink)

This essay argues that, despite the potential for an encounter between Stanley Cavell’s thought and found-footage experimental filmmaking, this has not yet taken place because the early Cavell’s picture of films as autonomous “wholes,” together with his "global-holistic" conception of modernism, prevented him from appreciating the expressive possibilities of filmic fragments. I then argue that these impediments to an encounter with found footage recede in Cavell’s later thought, as he moves away from a concern with modernism and as J. L. (...) Austin’s How to Do Things with Words comes to play a greater role in his film writing. In this late period, Cavell no longer conceives of topics of film criticism as filmic “wholes” but rather, more loosely, along the lines of what Austin called “total speech situations.” I claim that the culmination of this turn lies in Cavell’s writing on the expressive powers of collections. In closing, I demonstrate the possibilities of the late Cavell’s thinking about collections and “passionate utterances” for found-footage filmmaking by discussing Mexican experimental filmmaker Bruno Varela’s Monolito (2019), with particular attention to how Varela uses archival footage to fulfill the exigencies of finding new modes of expression at just the moment when a world is receding from view. (shrink)

Novels like Fight Club or American Psycho are said to be instances of unreliable narration: the first person narrator presents an evidently distorted picture of the fictional world. The film adaptations of these novels are likewise said to involve unreliable narration. I resist this extension of the term ‘unreliable narration’ to film. My argument for this rests on the observation that unreliable narration requires a personal narrator while film typically involves an impersonal narrator. The kind of ambiguous story-telling that we (...) find in literary fiction with unreliable narrators, where for certain descriptions it is unclear whether what we’re told is an accurate account of what’s happening in the story world or not, can instead be achieved by conventionalized filmmaking techniques for reporting the contents of mental states, like the point of view shot, but especially the more ambiguous blended perspective shot. (shrink)