Another thought about Dennis's comments on GOODFELLAS: "The long sequenced shot introducing the litany of Henry=D5s friends all collected in the Bamboo Lounge plays upon the coordination of Henry=D5s voice-over introduction of each character with the diegetic conversation, as they each address Henry by speaking to the camera head-on. At the end of the shot, Henry steps into view and the camera then follows him -- and in that moment we see how interchangeable are the literal transpositions of first- and third-person narrative structures from literature to cinema. The remarkable smoothness of that sequence shot, however, barely disguises its physical impossibility as the diegetic subjective view of Henry Hill. The camera fleetingly stoops to knee-level, tilts up slightly, and zooms in, to get a better view of a man sitting at a table. Just as quickly it drifts up above and over the bar, panning back around to view the patrons at the bar. One by one they speak to =D2Henry,=D3 who ostensibly saunters down the length of the bar from the bartender=D5s side. The convenient arrangement of the all of Henry=D5s old friends who each speak to him, as he (in voice-over) speaks to us about them, along with the dreamy, irreal flow of the sequence shot mark this scene as a *synthetic* remembrance -- i.e., not a scene from Henry=D5s life, but how he remembers all his old friends." It's interesting how often this technique--of an apparently subjective shot that includes the person who is apparently looking at the scene--shows up. It is exploited in a very obvious way by Dreyer in VAMPYR but Scorsese actually seems to pushing the limits of a fairly common Hollywood technique. For example, in CROSSFIRE, the character of "Mitch" falls down in a subjective flashback but as he gets back to his feet, he stands up into the camera's view. Even in STAGECOACH, which has very few subjective shots, after the shootout we see Dallas as the camera moves toward in a lurching gait, suggesting that it is Ringo who is walking toward her, but he too walks into the camera's view at the end. Yet these two examples have to be watched carefully to be noticed, unlike the strangeness of Dreyer's film or even Scorsese's. Don Larsson, Mankato State U (MN) ---- Online resources for film/TV studies may be found at ScreenSite http://www.sa.ua.edu/screensite