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

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Making Sense of Lost Highway 61BibliographyBordwell, D. 1985. Narration in the Fiction Film. Madison: University ofWisconsin Press.Branigan, E. 1992. Narrative Comprehension and Film. New York: Routledge.Lynch, D., and Gifford, B. 1997. Lost Highway (screenplay). London: Faber andFaber.
3“Twist Blindness”: The Role ofPrimacy, Priming, Schemas, andReconstructive Memory in a First-Time Viewing of The Sixth SenseDaniel BarrattIntroductionThe main thing which struck me when watching The Sixth Sense (1999)a second time round was the hospital scene in which child patient ColeSear (Haley Joel Osment) reveals that he can “see dead people” – deadpeople who “don’t know they’re dead” – while the camera is focusing inon Dr Malcolm Crowe (Bruce Willis). In this scene, the writer and directorM. Night Shyamalan effectively waves the film’s celebrated narrative twistin the face of the viewer. Considering the explicit nature of both the dialogueand the method of filming – for example, Cole’s statement that thesedead people “walk around like regular people” is immediately followed bya close-up of Malcolm – why does the first-time viewer fail to make theconnection between Cole’s revelation and Malcolm’s situation? Withregard to this particular scene, Frank Marshall, one of the producers of thefilm, states: “I actually thought we had overdone it. I actually thought we’regiving too much away here.” 1 Presumably, however, test audiences failedto pick up on the scene’s implication. In this chapter, I am interested inexplaining why the average viewer does not, contrary to Marshall’s fear,pick up on this type of clue first time round, thereby remaining “blind”to the film’s narrative twist. This is where the notions of primacy, priming,and schema – referred to in the title – fit into the picture.My second point is more speculative and relates to The Sixth Sense’s advertisedstatus as “A Real ‘Must See Twice’ Film.” At the film’s conclusion, weare presented with three flashbacks: the first features Cole’s revelation; the
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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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8 Warren Bucklandprocess of narrati
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Page 119 and 120: 108 Chris DzialoMoreover, it is tem
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112 Chris Dzialoshifting network of
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128 Chris DzialoMamber, S. 2003.
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130 Michael WedelThe Opening Sequen
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132 Michael WedelLola runs in three
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134 Michael Wedelnarratives tend to
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136 Michael WedelThis tension aroun
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138 Michael Wedelin opposition” b
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140 Michael Wedelthe nuns, the tram
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144 Michael Wedelwithin the logic o
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146 Michael Wedelspiral as one of t
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148 Michael Wedel10 For Lefebvre’
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150 Michael WedelJenkins, H. 2004.
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168 Gary Bettinsonreclamation of lo
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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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188 Yunda Eddie FengLou has been ca
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190 Yunda Eddie Fengnarrative progr
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196 Yunda Eddie Fengher dead body).
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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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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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