1. Film: Rear Window (1954)
Reading: Wilson, George (1988) ‘Film, Perception and Point of View’, in Wilson, Narration in Light: Studies in Cinematic Point of View. Baltimore and London: John Hopkins University Press, 1-15.
Topics: Point of view and the opening of Rear Window; introduction to cinematic point of view; exposition of Wilson’s first chapter; discussion of Rear Window.
2. Film: Rope (1948)
Reading: Perkins, V.F. (1972) ‘Participant Observers’, in Perkins, Film as Film: Understanding and Judging Movies. Harmondsworth: Penguin Books Ltd., 134-157.
Topics: Gay subtext; transference of identification; association; tone; suspense and humour; fascism.
3. Film: Psycho (1960)
Reading: Pye, Douglas (2000) ‘Movies and Point of View’, Movie 36, January, 2-4 & 8-15.
Topics: The five axes of point of view – spatial, temporal, cognitive, evaluative, ideological.
4. Film: Shadow of a Doubt (1943)
Reading: Chatman, Seymour (1990) ‘A New Point of View on “Point of View”’ from Chatman, Coming to Terms: The Rhetoric of Narrative in Fiction and Film. Ithaca and London: Cornell U.P., 139-160.
Topics: Shifts in point of view; distinction between surprise and suspense; ideology; sexuality; identification; the waltzing couples.
5. Film: The 39 Steps (1935)
Reading: Branigan, Edward R. (1984) ‘The Problem of Point of View’ from Branigan, Point of View in the Cinema: A Theory of Narration and Subjectivity in Classical Film, 1-28.
Topics: Unrestricted narrational authority; epistemic distance, reliability and authority; the crofter sequence.
6. Film: The Man who Knew Too Much (1956)
Reading: Smith, Murray (1995) ‘Engaging Characters’ and ‘The Place of POV’, from Smith, Engaging Characters: Fiction, Emotion and the Cinema. Oxford: Clarendon Press, 73-86 and 156-165.
Topics: Point of view and identification.
7. Film: Sabotage (1936)
Reading: Carroll, Noël (1996) ‘Toward a Theory of Point of View Editing: Communication, Emotion, and the Movies’ from Carroll, Theorizing the Moving Image. Cambridge: Cambridge University Press, 125-138.
Topics: The implied filmmaker; narrative and narration; surprise and suspense; domestic rebellion; intentionality and authorship; Joseph Conrad and point of view.
8. Film: Rebecca (1940)
Reading: Lothe, Jakob (2000) ‘Narrative Communication’ from Lothe, Narrative in Fiction and Film. Oxford: Oxford University Press, 27-48.
Topics: David O. Selznick and authorship; novel and film; the gothic and the paranoid woman’s film; a woman’s point of view; oblique or off-centre point of view; first-person narration.
9. Film: Vertigo (1958)
Reading: Smith, Susan (2000) Mise en scène’ from Smith, Hitchcock: Suspense, Humour and Tone. London: BFI, 76-91.
Topics: Ideology; masculinity in crisis; identification; masquerade; performance; suppressive narrative; Scottie’s authorial and epistemic authority; distance; generic shift; transformation.
10. Film: Marnie (1964)
Reading: Perez, Gilberto (1998) ‘The Narrative Sequence’ from Perez,The Material Ghost: Films and their Medium. London and Baltimore: The John Hopkins University Press, 50-81.
Topics: Expressionism; female point of view.