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Abstract: This essay investigates the way in which a film can be said to describe rather than simply to show an environment as background
to action. The problem arises because film, unlike print, operates in the audience's real time, and hence suggests that "story-time"
(the time of the fictional events depicted) is always passing, whereas genuine description in novels evokes the sense of a
pause in the story. Examples of description from narrative fiction and film (Antonioni) are given by way of demonstration.
Abstract: Frederic Remington is not only the best known painter of Western subjects but also an artist who has had a decided impact
on directors of Western films such as John Ford. This essay explores the relationship between Remington and the Western film
genre. Remington's involvement in some of the decisive moments at which images of "the West" became focused created a corpus
of work which embodied values that provided the basis for later Western films.
Abstract: This essay explores Artaud's work in film (his theories, screenplays, and his one film "La couqille et le clergyman") in light
on his own preoccupations and in relation to French artistic currents of the 1920s. It shows that while surrealism did have
a major effect upon his work, it was by no means the only important influence.
Abstract: "The Naked City" provides an example of creative and distinctly personal voice-over narration. Through close examination of
this film and through the perspective provided by current narrative theory, this essay questions previous assumptions about
the authority and legitimacy of voice-over narration.
Elizabeth Davidson Ludicky
E. Ann Kaplan