Kaja Silverman's Acoustic Mirror talks about "voice of God" narration --
there may be some useful overlap in the way these concepts are figured?

On Tue, Oct 14, 2008 at 8:19 AM, Ingvoldstad, Bjorn <
[log in to unmask]> wrote:

> Students keep pointing to the last shot in TAXI DRIVER, as well as the
> final crane in GONE WITH THE WIND.... Those might be of help?
>
> ~Bjorn
>
> Dr. Bjorn Ingvoldstad
> Assistant Professor of Media Studies & Communication Technologies
> Department of Communication Studies
> Bridgewater State College
> 508.531.2802
> [log in to unmask]
> http://bsc-comm.blogspot.com
>
> "That there exists a Céline Dion antisexist dancehall-reggae
> anthem is nothing short of the sort of Ripley's Believe It or Not
> item that makes it a joy each morning to wake up alive."
>          ~Carl Wilson, in LET'S TALK ABOUT LOVE:
>                                           A JOURNEY TO THE END OF TASTE
>
> ________________________________
>
> From: Film and TV Studies Discussion List on behalf of Scott Wilson
> Sent: Mon 10/13/2008 4:03 PM
> To: [log in to unmask]
> Subject: [SCREEN-L] God's-Eye POV
>
>
>
> Dear all;
> a student of mine is engaged in a research project exploring the history,
> use and implications of the God (or God's-Eye) POV shot. We've ticked off
> the usual suspects (Hitchcock; Von Trier etc) and are wondering if you know
> of any examples off-hand, or of any attempts to theorise this shot in
> particular?
>
> Best,
> Scott.
>
> Dr. Scott Wilson
> Programme Co-Ordinator: Performing and Screen Arts Theory.
> Screen Studies Co-Ordinator & Lecturer
> School of Performing and Screen Arts
> Unitec New Zealand
> Te Whare Wananga o Wairaka
> Private Bag 92025
> Auckland, New Zealand
> Extension 7855
>
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>


-- 
Catherine Clepper
Doctoral Student, Screen Cultures
Northwestern University

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