ABSTRACT
The Remains of the Day is a social criticism film that depicts psychopathological preconditions for the socially recognised behaviour of an English butler. A new text is created that is anchored in the concrete data of the film but no longer resides exclusively or directly in the film images. The film deftly sketches the interrelationship of these two threads of action through a psychological portrait of the protagonist Stevens and his authoritarian, contemptuous behaviour towards others. The film persuasively depicts him as completely out of touch with his own feelings and thoughts, suggesting that in serving his master, he loses contact with himself. As the audience undergoes various identifications with Stevens, Ms Kenton and other characters in the film, there is a dawning recognition that Stevens takes masochistic pleasure in unconditional surrender to his master. Stevens's ambivalence about reuniting with Ms Kenton is skilfully manifested in a pivotal sequence when Stevens, driving his car, turns away from the observer.
