This thesis is an evaluation of the extent to which theories of focalization are useful for the analysis of point of view in film. In it, I apply the small number of focalization models advanced within film studies to an analysis of the works of an internationally acclaimed Taiwanese director, Edward Yang. I reveal that Yang's films serve well to demonstrate how the conventional typologies of external and internal focalization are convenient labels that mask the considerable degree of ambiguity that is reflected by processes of focalization and narration in many films. Furthermore, I illustrate how an application of the alternative theory of auto-focalization to film analysis can generally free us from the limitations of these typologies, by drawing our attention to the iconic implications of film imagery. Finally, I determine that both models of focalization are largely useful for highlighting the degree to which the functions of character-focalizers and narrators can be indistinguishable, particularly in self-reflexive films.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.98539 |
| Date | January 2005 |
| Creators | Benoit, James. |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | English |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Master of Arts (Department of East Asian Studies.) |
| Rights | © James Benoit, 2005 |
| Relation | alephsysno: 002487094, proquestno: AAIMR24848, Theses scanned by UMI/ProQuest. |
Page generated in 0.0098 seconds