ABSTRACT
The evictions of narrative, and of any imaginarily present “character” (whether perceptually present or not) can be produced through processes that create filmic anonymity and autonomy. “Simplistically the options of cinematic enunciations might be characterized as on the one hand falsely ‘neutral’, ‘omniscient’ enunciation of dominant cinema, which poses personality through names of directors, producers, and stars, but which is ‘falsely’ neutral… because its enunciation is that of the hidden cultural ideology expressed through the agents of the production, and on the other hand the personal enunciation of the individual film artist. The first option is relatively easy to reject theoretically even if its effects on film practice and structure are difficult to eradicate. However, the problems implicit in the second option and particularly the forms which this has taken on through the New American Cinema practice have been mainly left inarticulate” (LeGrice, “Some notes”, op. cit.).
