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Katherine Thomson-Jones (2009). Cinematic Narrators.

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  1.  5
    The Rhetoric of Fiction.Wayne C. Booth - 1964 - Journal of Aesthetics and Art Criticism 22 (4):487-488.
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  2.  55
    Narration in the Fiction Film.David Bordwell - 1985 - University of Wisconsin Press.
    In this study, David Bordwell offers the first comprehensive account of how movies use fundamental principles of narrative representation, unique features of ...
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  3. The Philosophy of Motion Pictures.Noël Carroll - 2008 - Blackwell.
    _Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.
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  4. Narrative Closure.Noël Carroll - 2007 - Philosophical Studies 135 (1):1 - 15.
    In this article, “Narrative Closure,” a theory of the nature of narrative closure is developed. Narrative closure is identified as the phenomenological feeling of finality that is generated when all the questions saliently posed by the narrative are answered. The article also includes a discussion of the intelligibility of attributing questions to narratives as well as a discussion of the mechanisms that achieve this. The article concludes by addressing certain recent criticisms of the view of narrative expounded by this article.
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  5. Unreliability Refigured: Narrative in Literature and Film.Gregory Currie - 1995 - Journal of Aesthetics and Art Criticism 53 (1):19-29.
    Aims to improve an understanding of the theoretical issues in response to the influence of fiction. Four things in narrative unreliability; Relation between narration in literary fictions and film; Comprehension of narrative essentially a matter of intentional inference; Fictions misdescribed; Asymmetry between literature and film; Ambiguity and unreliability; Implied author and narrator.
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  6.  31
    The Philosophy of the Movies : Cinematic Narration.Berys Gaut - 2004 - In Peter Kivy (ed.), The Blackwell Guide to Aesthetics. Blackwell. pp. 230--253.
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  7. Film Authorship and Collaboration.Berys Gaut - 1997 - In Richard Allen & Murray Smith (eds.), Film Theory and Philosophy. Oxford University Press. pp. 149--172.
     
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  8. Against the Ubiquity of Fictional Narrators.Andrew Kania - 2005 - Journal of Aesthetics and Art Criticism 63 (1):47–54.
    In this paper I argue against the theory--popular among theorists of narrative artworks--that we must posit a fictional narrative agent in every narrative artwork in order to explain our imaginative engagement with such works. I accept that every narrative must have a narrator, but I argue that in some central literary cases the narrator is not a fictional agent, but rather the actual author of the work. My criticisms focus on the strongest argument for the ubiquity of fictional narrators, Jerrold (...)
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  9.  53
    Mindscreen: Bergman, Godard, and First-Person Film.Bruce F. Kawin - 1978 - Dalkey Archive Press.
    In the opening chapter of this groundbreakingwork, Bruce Kawin asks: can a film?which isalready the dream of its maker and its audience,and which can present ...
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  10. On Not Expecting Too Much From Narrative.Peter Lamarque - 2004 - Mind and Language 19 (4):393–408.
    The paper offers a mildly deflationary account of narrative, drawing attention to the minimal, thus easily satisfied, conditions of narrativity and showing that many of the more striking claims about narrative are either poorly supported or refer to distinct classes of narrative—usually literary or fictional—which provide a misleading paradigm for narration in general. An enquiry into structural, referential, pragmatic, and valuebased features of narrative helps circumscribe the limits of narration and the test case of the narrative definition of the self (...)
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  11. Film Music and Narrative Agency.Jerrold Levinson - 1996 - In David Bordwell Noel Carroll (ed.), Post-Theory: Reconstructing Film Studies. U Wisconsin Press.
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  12. Art and Intention: A Philosophical Study.Paisley Livingston - 2005 - Oxford University Press.
    In Art and intention Paisley Livingston develops a broad and balanced perspective on perennial disputes between intentionalists and anti-intentionalists in philosophical aesthetics and critical theory. He surveys and assesses a wide range of rival assumptions about the nature of intentions and the status of intentionalist psychology. With detailed reference to examples from diverse media, art forms, and traditions, he demonstrates that insights into the multiple functions of intentions have important implications for our understanding of artistic creation and authorship, the ontology (...)
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  13. Narrative.Paisley Livingston - 2001 - In Berys Nigel Gaut & Dominic Lopes (eds.), The Routledge Companion to Aesthetics. Routledge.
     
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  14. Film Language: A Semiotics of the Cinema.Christian Metz - 1974 - University of Chicago Press.
    A pioneer in the field, Christian Metz applies insights of structural linguistics to the language of film. "The semiology of film . . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinema: langue ou langage?'"--Geoffrey Nowell-Smith, Times Literary Supplement "Modern film theory begins with Metz."--Constance Penley, coeditor of Camera Obscura "Any consideration of semiology in relation to the particular field signifying practice of film passes inevitably through a reference to (...)
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  15. Mimesis as Make-Believe: On the Foundations of the Representational Arts.Kendall L. Walton - 1990 - Harvard University Press.
    Mimesis as Make-Believe is important reading for everyone interested in the workings of representational art.
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  16.  70
    Transparency and Twist in Narrative Fiction Film.George Wilson - 2006 - Journal of Aesthetics and Art Criticism 64 (1):81–95.
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    Narration in Light: Studies in Cinematic Point of View.George Wilson - 1989 - Journal of Aesthetics and Art Criticism 47 (3):290-292.
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  18.  62
    Elusive Narrators in Literature and Film.George M. Wilson - 2007 - Philosophical Studies 135 (1):73 - 88.
    It is widely held in theories of narrative that all works of literary narrative fiction include a narrator who fictionally tells the story. However, it is also granted that the personal qualities of a narrator may be more or less radically effaced. Recently, philosophers and film theorists have debated whether movies similarly involve implicit audio-visual narrators. Those who answer affirmatively allow that these cinematic narrators will be radically effaced. Their opponents deny that audio-visual narrators figure in the ontology of movies (...)
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  19. Narrative.George M. Wilson - 2003 - In Jerrold Levinson (ed.), The Oxford Handbook of Aesthetics. Oxford University Press. pp. 392--407.
     
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  20.  41
    Le Grand Imagier Steps Out.George M. Wilson - 1997 - Philosophical Topics 25 (1):295-318.
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