Voice *

Celestino Deleyto's analysis of classical film shows the general tendency of film narrative to combine internal with external focalization and to return to the objective presentation of external narration to make the internal gazes in the text understandable. He proposes an analysis of the relationship between internal focalizer and focalized through the use of four main techniques: editing, framing, movement of camera and mise-en-scene. The study of visual subjectivity in film can be approached from a more abstract, less taxonomical standpoint, that is, once again, through the analysis of focalisation. Focalisation in film can be external or internal. Focalisation, consequently, can originate in the fabula, become active in the story and be textualised by the mise-en-scene. The need for the viewer's concentration on the relevant gaze asks for this decalage between external and internal focalisation in the same shot. Mise-en-scene, therefore, replaces framing once again in the expression of subjectivity.