Gee whiz, Mike, sometimes I even have problems knowing whether I am a man
or a woman, but that doesn't seem to prevent me from committing to a
category (or perhaps, more accurately, having one imposed on me, though
that too may vary).
 
I would still maintain that the sound of the woman's scream does not
settle easily into either of the categories (diegetic or
non-/extra-) which we use to account for their presence in the film. I
would challenge you to try to place that sound in a particular category
and see for yourself why it doesn't fit easily. Perhaps that would be a
more useful and productive means of considering the terms of this debate
and more appropriate to the discussion than personal speculations about my
gender or my ethnic origins. Though perhaps not nearly as much fun.
 
Henry Ersoz
University of Oregon
 
 
 
 On Thu, 15 Jun 1995, Mike Frank wrote:
 
> meryem ersoz writes that she likes to think of diegetic and non (or extra) -d
> as terms to help interrogate thexts rather than as stabble categories; and
> offers in evidence the sound accompanying the final fall in H's SABOTEUR.
> i agree that that sound, like others in H's work, is particularly
> interesting, but it does nothing at all to deconstruct the categories . . .
> that we can't from the evidence deteremine which of two categories something
> falls into says nothing about the categories and much about the evidence . .
> . that i do not know whether meryem ersoz is a man or a woman--as in fact i
> do not--says nothing at all about those classifications, but a lot about my
> won narrow cultural experiences
> perhaps a case can be made that the categories of diegetic and extra-d--like
> the catgegories of male and female-- CAN (should?) be dismantled;
> but the case in point does nothing to make that case
>
> mike frank  <[log in to unmask]>
>
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