This is another conversation I'm coming to rather late, so again my apologies for its datedness: Dennis Rothermel comments on GOODFELLAS: "Goodfellas is a film of the remembrances of a gangster, but it does not revert to facile flash-back or POV conventions in which the audience is encouraged to believe that we now see what had once happened, just as it had happened, or what the narrator factually sees, etc. Rather, Goodfellas is imbued with Henry=D5s cognitive presence, replete with the distortions, syntheses, conflations, fixations, moods, and so on, of that presence." This is an important recognition. GOODFELLAS can throw one offtrack by the voiceover narration, but in the respects cited above, it is similar to and possibly more subtle than RAGING BULL. One could notice other " first-person" devices in other films than subjective POV shots: distortions of sound and audio flashbacks in THE CONVERSATION or RUMBLEFISH (but also in SHADOW OF A DOUBT and many other films. On other hand, there is the disjunction between narrator and what is seen in a film like OUT OF THE PAST that is exploited much more openly by Godard in BAND OF OUTSIDERS, where the third person narrator purports to give us the character's thoughts *and* actions but the actions are often at odds with his discription. Strict use of subjective POV shots as "first person" are problematic. The device works well enough in short takes--NORTH BY NORTHWEST is the classic example, even more than in REAR WINDWO--but extended use tends to vitiate the effect. THE LADY IN THE LAKE and the opening sequence of DARK PASSAGE are notorious as "interesting failures." A better approach to the whole question is described by Seymour Chatman in COMING TO TERMS. See especially Chapter 9, "A New Point of View on 'Point of View'." Don Larsson, Mankato State U (MN) ---- Online resources for film/TV studies may be found at ScreenSite http://www.sa.ua.edu/screensite