@book {841,
	title = {Seeing Fictions in Film: The Epistemology of Movies},
	year = {2011},
	publisher = {OUP Oxford},
	organization = {OUP Oxford},
	abstract = {<p><span style="color: rgb(51, 51, 51); font-family: Arial, sans-serif; font-size: 13px; line-height: 18px;">In works of literary fiction, it is a part of the fiction that the words of the text are being recounted by some work-internal {\textquoteright}voice{\textquoteright}: the literary narrator. One can ask similarly whether the story in movies is told in sights and sounds by a work-internal subjectivity that orchestrates them: a cinematic narrator. George M. Wilson argues that movies do involve a fictional recounting (an audio-visual narration) in terms of the movie{\textquoteright}s sound and image track. Viewers are usually prompted to imagine seeing the items and events in the movie{\textquoteright}s fictional world and to imagine hearing the associated fictional sounds. However, it is much less clear that the cinematic narration must be imagined as the product of some kind of {\textquoteright}narrator{\textquoteright} - of a work-internal agent of the narration. Wilson goes on to examine the further question whether viewers imagine seeing the fictional world face-to-face or whether they imagine seeing it through some kind of work-internal mediation. It is a key contention of this book that only the second of these alternatives allows one to give a coherent account of what we do and do not imagine about what we are seeing on the screen. Having provided a partial account of the foundations of film narration, the final chapters explore the ways in which certain complex strategies of cinematic narration are executed in three exemplary films: David Fincher{\textquoteright}s Fight Club, von Sternberg{\textquoteright}s The Scarlet Empress, and the Coen brothers{\textquoteright} The Man Who Wasn{\textquoteright}t There.</span></p>},
	isbn = {9780199594894},
	url = {http://books.google.ca/books?id=\_r2dEl2tzZYC}
}
