----------------------------Original message---------------------------- > > In other words, it points for the need for a prior knowledge > > that pure formalism cannot acknowledge--a contextual formalism can give > > access to some of these films, but we need to find the contexts first. > > > > When an American viewer who even lacks much of the context of the classical > > Western past encounters these works, there is little to anchor them. > > > > --Don Larsson, Mankato State U., MN > > This was followed by Gloria Monti's: > You are pointing to the important problem of diegetic > intelligibility predicated upon extradiegetic knowledge. But isn't > Bertolucci (not the Bertolucci of the "Asian" trilogy!) always assuming > historical-cultural knowledge about his films? *Il Conformista,* just to > name one. And Godard's *La Chinoise?* Godard in general? But we have > all gained the necessary expertise to access these films, havent' we? > Why can't it work for Sembene's films as well? > Here's my thought. If we try to say what we do see or know without insisting that it is *right* there's a chance that someone with more background or *extradiagetic* expertise will speak up and help out, and we'll be all the wiser for this dialogue. The problem Don Larsson raises in relation to YEELEN is a real one, but not a show-stopper. (Gloria, I just have to say that the word *extradiagetic* always makes me think of the Marx Brothers parody of legalese. I know you'll forgive me.) Susan Denker Tufts Univ./Museum School BOSTON