* omslag Between Stillness PB:DEF

. Peter Brooks,Reading for the Plot,,p.. The context of the expression is,“Per-
haps we would do best to speak of theanticipation of retrospectionas our chief tool in
making sense of narrative, the master trope of its strange logic”. This is, in my view,
probably the most interesting, but very much neglected insight of Brooks’s book.
. See Michel Chion,Audio-Vision: Sound on screen. New York: Columbia University
Press. [],p..
. Sometimes this experience is ruptured, creating some sort of narrative shock, as in
one of the shorts fromPhoto-Romans, calledThe Return, which has an autodie-
getic voice-over and tells the story about a woman who ends up getting killed in the
last scene. Given the otherwise dramatic realism of the film, the murder comes as a
surprise, partly because it signals an impossible (or unrealistic) narrational position
for the voice-over.
. Thorold Dickinson ()A Discovery of Cinema, Oxford, p..
. R.P. Kolker and J. Douglas Ousley ()“A Phenomenology of cinematic time and
space”,British Journal of Aesthetics, vol.,p..
. Thanks to the filmmaker Inger-Lill Persett for this information (email correspon-
dence, March,).
. See: http://docs.google.com/viewer?a=v&q=cache:iQVqlxnJkcJ:www.novare.no/kff
/dagsplan/pdf/NK.pdf+inger-lill+persett&hl=no&gl=no&pid=bl&srcid=ADGE
EShZrnHsbYC-_GwvaYLervwCUFDbflffXviiwlMEDCpPlSdzAweprvxfFI
VLLrFcbsAqRavHWriGRmHUXzT_GMyVXAGO–uczQvLNYcFz
OorSrpahM&sig=AHIEtbSm-jrPOEsTTTkHqp_bEOsOw [last accessed March
,].
. Roland Barthes,Camera Lucida[],p..

The Temporalities of the Narrative Slide Motion Film 105