An interesting film in this vein is *Reversal of Fortune*, in which we see a number of possible reconstructions of events, all narrated, in the best *Sunset Boulevard* fashion, by the comatose Sunny von Bulow! Also, I think that *JFK* is interesting in this respect because despite its emphasis on evidence such as the Zapruder (sp?) film, it deliriously reconstructs all kinds of viewpoints on the key traumatic event of JFK's death. At one point towards the end Costner's character describes something which *might* have happened, which we see at the same time. It seems to me that in these two cases there is a kind of attempt to produce modalities of cinematic representation *other than* the indicative "it is" or the past tense "it was." Also interesting might be Lang's *The Woman in the Window* (along the *...Owl Creek Bridge* lines), *Sudden Fear* with Joan Crawford (which includes an imagined sequence) and *Pursued*, which I rewatched recently and which is mostly told in flashback but we see events where the intradiegetci narrator couldn't possibly have been (which is not so uncommon). I find Gerard Genette's discussion of these issues in literature much more convincing than those of the Anglo-American tradition of theorizing about the novel. (The book is *Narrative Discourse*.) Genette distinguishes between mood and voice, where mood is our access to narrative information and voice is who's telling the story. Thus in the famous Jamesian "story told as if from a character's point-of- view but in the third person" the mood involves the restriction of point-of-view, whereas the person involves the fact that a non-diegetic narrator is speaking, rather than someone within the story. A very complex and interesting topic! No doubt there are so many examples of such a great variety that it is difficult to find exactly the kind of examples one is searching for. Sincerely, Edward R. O'Neill UCLA ---- To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L in the message. Problems? Contact [log in to unmask]