http://www.prometheus-journal.com Johns Hopkins Undergraduate Journal of Philosophy Tue, 20 Sep 2011 04:21:26 +0000 http://backend.userland.com/rss092 en http://www.prometheus-journal.com/2011/09/the-liturgical-and-the-ethical-in-lacoste-and-kierkegaard/ http://www.prometheus-journal.com/2011/09/justified-false-beliefs-and-truth-as-a-redundant-condition/ http://www.prometheus-journal.com/2011/09/reason-and-self-interest-in-hobbes-reply-to-the-fool/ http://www.prometheus-journal.com/2011/09/therapy-ethics-and-religiosity-the-necessity-of-conversion-included-in-wittgenstein%e2%80%99s-philosophical-therapy/ http://www.prometheus-journal.com/2011/09/hellfire-a-loving-god-infinite-suffering-and-the-reliability-of-the-bible/ http://www.prometheus-journal.com/2010/12/the-will-to-act-and-the-paradigm-shift-away-from-aristotle%e2%80%99s-physics/ http://www.prometheus-journal.com/2010/12/brain-steroids-ethical-concerns-regarding-cosmetic-neurology-and-psychopharmacology/ http://www.prometheus-journal.com/2010/12/dennetts-propositional-attitudes/ http://www.prometheus-journal.com/2010/12/rorty-connolly-and-the-role-of-irony/ By NATALIE RODRIGUEZ
This paper works through Gilberto Perez’s theory of film narrative, clarifying his distinction between drama and narrative as relevant to understanding the singular form of cinematic narration employed in Renoir’s The Rules of the Game (1939). Rather than thinking of film as being of one primary form or another, one should recognize that such terms are primarily of functional value and should not be taken as actual properties of film, and that broadening our terms to include drama and narrative gives us more insight in talking about film and frees us from the ontological commitment of having to posit invisible, effaced narrators in film where there is no evidence.
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