Peter Thomas suggests: "As to those examples of conflict between what a narrator says and what they actually did, ie., in a flash back - Clint Eastwood killing confederates coldly in The Beguiled while telling people how humane and honourable he is, the prospective tenant in Shallow Grave answering 'No' to the question of whether he has ever killed a man while the flashback shows him doing so and the great number of comic usages of this kind of thing - the reason we privilege the flashback itself when there is conflict is not a video/audio thing in these cases but because flashbacks are of the narration, whereas dialogue is of a character. . . ." This reminds me of the opening of THE SHOOTIST. As we hear Ron Howard's voice talking about the legendary gunfighter played in the film by John Wayne, we see a montage of clips that apparently illustrate the gunfighter's career. But of course we are seeing clips from former John Wayne movies. Immediately, this signals to the audience that the film is not a self-contained entity as narration but a film that will also offer a parallel homage to Wayne's screen persona and film career. Don Larsson, Mankato State U (MN) ---- To signoff SCREEN-L, e-mail [log in to unmask] and put SIGNOFF SCREEN-L in the message. Problems? Contact [log in to unmask]