Buckland-Warren-Puzzle-Films-Complex-Storytelling-Contemporary-Cinema

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The Screenplays of Charlie Kaufman 123Of course, the screenplay is in some senses irreversible. We can’t readletters, words, or sentences backward. But in a relative sense, it is morereversible than celluloid or video. The phrase or sentence becomes theprimary unit, not the shot as it is for Metz (which, interestingly, heequates to the sentence). A shot may be composed of several, or even many,sentences in a screenplay. Or one sentence might equal several, or even many,shots. Thus, although the cut might seemingly function as a guaranteeof irreversibility (although this discounts multiple, competing temporaldurations and directions that might occur within the same shot viasplit-screen), in the screenplay such “guarantees” are more difficult, if notimpossible, to pin down.Kaufman’s most overt assault on linear projector time occurs near theend of the script. In this scene, Clementine plays the tape of her memoryerasingconsultation at Lacuna Corporation, while she and Joel sit in hiscar. The strip of audio-tape dialogue is drawn graphically with single,non-overlapping dialogue, which never “splits” across the page. On theother hand Clementine and Joel’s comments on this linear, mechanical, andirreversible progression (which, indeed, threatens irreversibly to breakthem up) often sit astride this line, simultaneously, challenging its verylinearity:CLEMENTINE’S VOICE [on tape]Well, he’s a giant asshole. Is thatenough?MIERZWIAK’S VOICE [on tape]No, I’m afraid we really do need todelve.What is this?JOELCLEMENTINEI don’t know.CLEMENTINE’S VOICEI can’t stand to even look at him.[. . .] Is it so much to ask for anactual man to have sex with?
124 Chris DzialoJOELWhat are you doing?CLEMENTINEI’m not doing anything.CLEMENTINE’S VOICE (CONT’D). . . I might as well be a lesbian. Atleast I could have someone to lookat while I’m fucking. [. . .]JOELWhy did you make this tape?I completely don’t understandwhat you’re doing.JOELIt’s your voice!CLEMENTINEI didn’t do this!CLEMENTINEI know!Joel turns the car around.CLEMENTINE’S VOICE (CONT’D). . . Now the only fuel keeping it going ismy feeling sorry for him. [. . .]CLEMENTINEJoel, I don’t understand. I swear.CLEMENTINE’S VOICE. . . I remember this time I made him comeout onto this frozen river with me. Hewas terrified. Like a goddamn girl ...JOELSo someone just recorded you saying thiswithout you knowing you were saying it.CLEMENTINEI don’t know! Maybe it’sSome kind of Future thing,Like a look into the future.Like that thing in Scrooge!Maybe some force is trying tohelp us. I think I’ve readabout that happening. I’msure I have.JOELThis is fucked up! That’srididculous [sic]. This is fuckedUp! It’s called A ChristmasCarol, not Scrooge.
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Puzzle Films
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Puzzle FilmsComplex Storytelling in
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ContentsList of ContributorsviiIntr
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List of ContributorsDaniel Barratt
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List of ContributorsixHollywood (20
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2 Warren BucklandAll poetic arts, a
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4 Warren BucklandIn reading Bordwel
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6 Warren Bucklandfilm again, rather
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8 Warren Bucklandprocess of narrati
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10 Warren BucklandAllan Cameron and
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12 Warren Buckland4 Eleftheria Than
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14 Thomas Elsaessergenre or a sub-g
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16 Thomas Elsaesserdetails that do
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18 Thomas Elsaesserturns out that t
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20 Thomas Elsaessersituations, and
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22 Thomas ElsaesserA countervailing
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24 Thomas Elsaesserwindows, refresh
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26 Thomas ElsaesserYet paranoia, on
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28 Thomas Elsaesserhim. Donnie Dark
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30 Thomas Elsaessersame time as the
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32 Thomas Elsaesserwriters such as
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34 Thomas Elsaesserand syndication
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36 Thomas ElsaesserIt would be inte
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38 Thomas Elsaesserconditions,” a
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40 Thomas Elsaessermachine of the v
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2Making Sense of Lost HighwayWarren
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44 Warren Bucklandoff-screen sounds
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46 Warren BucklandScene 5, the next
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48 Warren Bucklandview of events. T
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50 Warren Bucklanddream and Renee
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52 Warren Bucklandprotagonist up to
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54 Warren Bucklandpresents a series
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56 Warren Bucklandshe seems to retu
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58 Warren BucklandFred’s optical
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60 Warren Bucklandsame way she did
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3“Twist Blindness”: The Role of
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64 Daniel Barratt(a) comprehension(
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66 Daniel Barrattsay Anna Crowe, pa
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68 Daniel BarrattFinally, two gener
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70 Daniel BarrattFigure 3.2The Sixt
Page 83 and 84: 72 Daniel BarrattFigure 3.6The Sixt
Page 85 and 86: 74 Daniel Barratt(b) Establishing t
Page 87 and 88: 76 Daniel BarrattFigure 3.8The Sixt
Page 89 and 90: 78 Daniel BarrattContrary to our in
Page 91 and 92: 80 Daniel Barrattof the mise-en-sc
Page 93 and 94: 82 Daniel Barrattbecause these emot
Page 95 and 96: 84 Daniel Barrattplausible that thi
Page 97 and 98: 86 Daniel BarrattMiller, G. 1956.
Page 99 and 100: 88 Stefano Ghislottiemploy, and the
Page 101 and 102: 90 Stefano Ghislotti(Carrie-Anne Mo
Page 103 and 104: 92 Stefano GhislottiBW1-BW22Motel r
Page 105 and 106: 94 Stefano GhislottiThe following s
Page 107 and 108: 96 Stefano Ghislotticolor sequence
Page 109 and 110: 98 Stefano Ghislotti← ...+ C3(e-2
Page 111 and 112: 100 Stefano GhislottiFilm formMain
Page 113 and 114: Table 4.1 Mental images, memories a
Page 115 and 116: 104 Stefano Ghislottiand that they
Page 117 and 118: 106 Stefano GhislottiBibliographyBo
Page 119 and 120: 108 Chris DzialoMoreover, it is tem
Page 121 and 122: 110 Chris Dzialorunning time (24 fr
Page 123 and 124: 112 Chris Dzialoshifting network of
Page 125 and 126: 114 Chris DzialoIn this version, th
Page 127 and 128: 116 Chris DzialoIn this version, th
Page 129 and 130: 118 Chris Dzialo[T]he great asymmet
Page 131 and 132: 120 Chris Dzialoinexorably forward,
Page 133: 122 Chris DzialoShot of a smudge of
Page 137 and 138: 126 Chris Dzialounmoored between a
Page 139 and 140: 128 Chris DzialoMamber, S. 2003.
Page 141 and 142: 130 Michael WedelThe Opening Sequen
Page 143 and 144: 132 Michael WedelLola runs in three
Page 145 and 146: 134 Michael Wedelnarratives tend to
Page 147 and 148: 136 Michael WedelThis tension aroun
Page 149 and 150: 138 Michael Wedelin opposition” b
Page 151 and 152: 140 Michael Wedelthe nuns, the tram
Page 153 and 154: 142 Michael Wedellonger’ and the
Page 155 and 156: 144 Michael Wedelwithin the logic o
Page 157 and 158: 146 Michael Wedelspiral as one of t
Page 159 and 160: 148 Michael Wedel10 For Lefebvre’
Page 161 and 162: 150 Michael WedelJenkins, H. 2004.
Page 163 and 164: 152 Allan Cameron and Sean Cubittth
Page 165 and 166: 154 Allan Cameron and Sean Cubittti
Page 167 and 168: 156 Allan Cameron and Sean CubittIn
Page 169 and 170: 158 Allan Cameron and Sean Cubittow
Page 171 and 172: 160 Allan Cameron and Sean Cubittho
Page 173 and 174: 162 Allan Cameron and Sean Cubittsa
Page 175 and 176: 164 Allan Cameron and Sean Cubittmu
Page 177 and 178: 166 Allan Cameron and Sean CubittBi
Page 179 and 180: 168 Gary Bettinsonreclamation of lo
Page 181 and 182: 170 Gary BettinsonAs the film progr
Page 183 and 184: 172 Gary Bettinsonaction in the 204
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174 Gary BettinsonGradually, the pr
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176 Gary Bettinsonand retardation.
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178 Gary Bettinsonpresentation of t
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180 Gary Bettinsonnarration has mis
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182 Gary Bettinsonlevel, however, t
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184 Gary Bettinsonnarrations that h
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186 Gary Bettinsone.g., Chow’s ne
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188 Yunda Eddie FengLou has been ca
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190 Yunda Eddie Fengnarrative progr
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192 Yunda Eddie FengDialogue emanat
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194 Yunda Eddie FengCuriously, desp
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196 Yunda Eddie Fengher dead body).
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198 Yunda Eddie FengSegment 5 (2:05
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200 Yunda Eddie FengXinxia. Even if
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202 Yunda Eddie FengBibliographyBar
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204 Marshall Deutelbaumgenesis, is
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206 Marshall DeutelbaumRecognizing
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208 Marshall Deutelbaumplace in Dec
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210 Marshall Deutelbaumthat he turn
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212 Marshall DeutelbaumCrash and Th
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214 Marshall Deutelbaumher, she mig
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216 Marshall DeutelbaumKwak, H. J.
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218 Eleftheria ThanouliOn first vie
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220 Eleftheria Thanouliactions set
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222 Eleftheria Thanouliin an expres
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224 Eleftheria ThanouliFigure 11.4O
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226 Eleftheria Thanouliscene not on
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228 Eleftheria Thanoulihand, helps
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230 Eleftheria Thanoulisome of the
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232 Eleftheria Thanoulia good knowl
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234 IndexBoccaccio, Giovanni 20book
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236 Indexfoveal vision 63fragmented
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238 IndexMontgomery, Robert 190mora
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240 IndexStranger Than Fiction 108S
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