ABSTRACT
The term “narrative” has been something of a dirty word in film studies for the last few decades. It was assumed that telling stories was the most simple and boring thing a film could do. Narrative was associated with “content” or “thematics,” and understood as clearly a less sexy thing for a film theorist to be involved with than form or style. When Truffaut said that he loved the moments in film when the narrative stops, he seemed to announce a whole generation’s preoccupation with the contingent and nonnarrative elements of film practice.
