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Title
Abstract
Introduction
Question of Perspective
Conclusion
References
All Topics
Philosophy
Aesthetics

Identity Crisis: Film and The Fractured Self

Profile image of Neil McCartneyNeil McCartney

2018

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Abstract

This work would not have been possible without the assistance, input and support of the following people: At the University of Kent I would like to thank Dr. Jinhee Choi who first took me on to the PhD programme and supervised me during my first year. I would also like to thank Dr Maurizio Cinquegrani, my secondary supervisor, for the numerous valuable insights and pieces of advice that he provided me with. I also benefitted greatly from being able to present and try out my ideas in the safe but challenging company of my fellow PhD candidates, and this helped hone and shape my work over the years. In particular I must extend the greatest thanks to my supervisor, Prof. Murray Smith, who has been absolutely invaluable over the (slightly extended) period of time it has taken to see this project to its conclusion. I have been able to draw upon his vast experience and finely tuned academic expertise, all of which has really been the difference between finishing my thesis or not. I would also like to mention Angela Whiffen in the Film Studies department for her professionalism, expertise, and advice in a variety of circumstances. On a personal level I must acknowledge and thank my family and my in-laws for the years of support, encouragement, patience and positivity. In particular I would like to mention my brother, Ross McCartney, for his keen proofreading eye and deep knowledge of film, which helped fine-tune the final version of this work. Above all I would like to thank my wife, Natalia Rappak, for her unfailing love, support, and enthusiasm, without which I would never have reached this point.

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  148. Dennett, Daniel C., Consciousness Explained, 1991, Back Bay Books / Little, Brown and Company, New York: 414. 51 Ibid.
  149. Prince, Stephen (ed.), The Horror Film, 2004, Wallflower Press, London: 121.
  150. Prince, Stephen (ed.), The Horror Film, 2004, Wallflower Press, London: 122.
  151. Prince, Stephen (ed.), The Horror Film, 2004, Wallflower Press, London: 125. 56 Ibid. 42.
  152. Ibid.
  153. Freeland, Cynthia, The Naked and the Undead: Evil and the Appeal of Horror , 2000, Westview Press, Oxford: 215.
  154. Conrich, Ian & David Woods. The Cinema of John Carpenter: The Technique of Terror. 2004, Columbia University Press, London: 83.
  155. Smith, Murray, 'Engaging Characters: Further Reflections,' in Revisionen Band 3: Characters in Fictional Worlds. Understanding Imaginary Beings in Literature, Film, and Other Media, Jens Eder, Fotis Jannidis and Ralf Schneider (eds), Berlin, New York: de Gruyter 2010: 234.
  156. Guthmann, Edward, San Francisco Chronicle, Friday, February 28, 1997.
  157. Ebert, Roger, Chicago Sun-Times, Thursday, February 27, 1997.
  158. Smith, Murray, 'A Reasonable Guide to Horrible Noise (part 2),' in Hojbjerg, Lennard & Peter Schepelern (eds) Film Style and Story: A Tribute to Torben Grodal, 2003, Museum Tusculanum Press: 159.
  159. Newman, Kim, 'Review of Lost Highway', in Sight and Sound, v.7 n.9 1 Sep 1997 pp.48/9.
  160. Bordwell, David, The Way Hollywood Tells It: Story and Style in Modern Movies, London: University of California Press, 2006: 89.
  161. Smith, Murray Engaging Characters: Fiction, Emotion, and the Cinema , 1995, Clarendon, Oxford: 19.
  162. Weishaar, Schuy R, Masters of the Grotesque The Cinema of Tim Burton, Terry Gilliam, the Coen Brothers and David Lynch, 2012, McFarland, London: 150.
  163. Benjamin, Walter, Reflections: essays, aphorisms, autobiographical wr itings, Peter Demetz (ed.), 1986, Schocken Books, New York: 155.
  164. Fight Club, David Fincher, 1999.
  165. Freeland, Cynthia, The Naked and the Undead: Evil and the Appeal of Horror , 2000, Westview Press, Oxford: 238. 72 See the following for extensive psychoanalytic interpretations of Lost Highway: Slavoj Zizek The Art of the Ridiculous Sublime: on David Lynch's Lost Highway. Seattle: University of Washington Press, 2000; Todd McGowan 'Finding ourselves on a Lost Highway: David Lynch's lesson in Fantasy' in Cinema Journal, v39 n2;
  166. Graham Fuller 'David Lynch's Wanted Weirdness' in Interview, n.2,1 Feb 1997; Thomas Caldwell, 'Lost in Darkness and Confusion: Lost Highway, Lacan, and film noir' in Metro n.118 1 Mar 1999.
  167. Currie, Gregory, 'Cognitivism,' in Toby Miller and Robert Stam (eds), A Companion to Film Theory, 2004, Blackwell, Oxford: 107/8.
  168. Freud, Sigmund, 'The Uncanny,' in The Uncanny, (Adam Phillips ed.), 2003 [1919], Penguin, London: 161/2 (note I).
  169. Freeland, Cynthia, The Naked and the Undead: Evil and the Appeal of Horror, 2000, Westview Press, Oxford: 237.
  170. Freeland, Cynthia, The Naked and the Undead: Evil and the Appeal of Horror, 2000, Westview Press, Oxford: 238.
  171. Conrich, Ian & David Woods. The Cinema of John Carpenter: The Technique of Terror. 2004, Columbia University Press, London: 83.
  172. Read, Rupert, 'The Tale Parfit Tells: Analytic Metaphysics of Personal Identity vs. Wittgensteinian Film and Literature,' in Philosophy and Literature, Vol. 39, 1, April 2015: 134/5.
  173. Carroll, Noël, 'Memento and the Phenomenology of Comprehending Motion Picture Narration,' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 131
  174. Ebert, Roger, Chicago Sun-Times, Thursday, February 27, 1997.
  175. Smith, Murray, Engaging Characters: Fiction, Emotion, and the Cinema, 1995, Clarendon Press, Oxford: 81. 82 Ibid.
  176. Rosen, Philip (ed.), Narrative, Apparatus, Ideology, 1986, Columbia University Press, New York: 25. 84 Ibid.
  177. Smith, Murray Engaging Characters: Fiction, Emotion, and the Cinema , 1995, Clarendon, Oxford: 26/7.
  178. Rhodes, Eric Bryant, 'Review of Lost Highway,' in Film Quarterly v.51 n.3 Spring 1998: 57.
  179. Peterson, James, Dreams of Chaos, Visions of Order, 1994, Wayne State University Press: 38.
  180. Currie, Gregory, Narratives and Narrators: A Philosophy of Stories, 2010, Oxford University Press, Oxford/New York: 192.
  181. Corrêa, Graça P. 'Social Order and Subconscious Disorder: The Gothic Aesthetic of David Lynch,' in Revista Anglo-Saxónica, 2014, University of Lisbon Centre for English Studies, Lisbon: 271.
  182. Maugham, Somerset, W. A Writer's Notebook, 1949, Heinemann, London : 21.
  183. Charles, Pieces of Light: The New Science of Memory, 2013, Profile Books, London: 6.
  184. Descartes, René, Meditations on First Philosophy, John Cottingham (ed.), 1996 [1641], Cambridge University Press, Cambridge.
  185. Locke, John, An Essay Concerning Human Understanding, 1975 [1689], Peter H. Nidditch (ed.), University of Oxford Press, Oxford. 94 Ibid: 335.
  186. Memento, 2000, Christopher Nolan. 0:08:09
  187. Bordwell, David, The Way Hollywood Tells It: Story and Style in Modern Movies, 2006, University of California Press, Berkeley. 78.
  188. Memento, 2000, Christopher Nolan. This line is spoken by the motel clerk, Burt, as he tries to comprehend the nature of Leonard's memory impairment.
  189. See the diagram by Greg Burney for an excellent visual guide to the film: http://cromeyellow.com/wp- content/uploads/2012/02/OCLtr.png, and also Andy Klein's analysis which lays out the plot construction in a simplified and accessible form: http://www.salon.com/2001/06/28/memento_analysis/
  190. Carroll, Noël, 'Memento and the Phenomenology of Comprehending Motion Picture Narration,' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 138
  191. Memento, 2000, Christopher Nolan. 0:08:50
  192. Smith, Murray, Engaging Characters: Fiction, Emotion, and the Cinema , 1995, Clarendon Press, Oxford: 83
  193. Carroll, Noël, 'Memento and the Phenomenology of Comprehending Motion Picture Narration,' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 136.
  194. Bordwell, David, The Way Hollywood Tells It: Story and Style in Modern Movies, 2006, University of California Press, Berkeley. 82.
  195. Carroll, Noël, 'Memento and the Phenomenology of Comprehending Motion Picture Narration,' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 137/8.
  196. Little, William G. 'Surviving Memento,' in Narrative, vol. 13.1. January 2005, Ohio State University Press: 67.
  197. Parker, Jo Alyson. 'Remembering the Future: Memento, the Reverse of Time's Arrow, and the Defects of Memory, in Kronoscope, 4:2, 2004, Brill, Leiden: 246. 107 Ibid. 248.
  198. For more on the key contributions to this debate see: David H. Richter 'Your Cheatin' Art: Double Dealing in Cinematic Narrative', in Narrative, Vol. 13, No.1, Jan 2005: pp. 11-28.
  199. Gregory Currie, 'Unreliability Refigured: Narrative in Literature and Film', in The Journal of Aesthetics and Art Criticism, Vol. 53, No. 1, Winter 1995: pp. 19-29.
  200. David Bordwell Narration in the Fiction Film, (1985), Routledge, London. George Wilson Narration in Light, (1986), John Hopkins University Press, Baltimore. George Wilson, 'Transparency and Twist in Narrative Fiction Film,' in Murray Smith & Thomas E. Wartenberg (eds), Thinking Through Cinema: Film As Philosophy, 2006, Wiley, Oxford. Murray Smith 'Double Trouble: On Film, Fiction, and Narrative', in Storyworlds: A Journal of Narrative Studies, Vol. 1, 2009: pp. 1-23. Paisley Livingston, 'Narrative' in The Routledge Companion to Aesthetics, (2001), Routledge, London: pp. 275-284.
  201. Bordwell, David, Narration in the Fiction Film, 1985, Routledge, London: 57.
  202. Bordwell, David, The Way Hollywood Tells It: Story and Style in Modern Movies, 2006, University of California Press, Berkeley. 78.
  203. Ibid.
  204. Bordwell, David, Poetics of Cinema, 2007, Routledge, London: 1.
  205. Memento, 2000, Christopher Nolan. 1:43:03
  206. Bordwell, David, The Way Hollywood Tells It: Story and Style in Modern Movies, 2006, University of California Press, Berkeley: 80
  207. Ibid. 81.
  208. Bordwell, David, Poetics of Cinema, 2007, Routledge, London: 143
  209. http://thebrainobservatory.ucsd.edu/hm The full history of the patient himself and the posthumous dissection can be found here. Fascinating for both its medical significance but also for the uncomfortable questions it raises regarding medical ethics.
  210. Sutton, John, 'The feel of the world: exograms, habits, and the confusion of types of memory,' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 76.
  211. Ibid. 74.
  212. Memento, 2000, Christopher Nolan, 0:08:50
  213. In 'Memories Aren't Made of This: amnesia at the movies.' When considering other amnesia-inspired film storylines, Sallie Baxendale identifies Memento as deserving a 'special mention' for the accuracy of its portrayal of the condition. See Baxendale, Sallie, 'Memories aren't made of this; amnesia at the movies,' in BMJ, 2004. December 18: 329(7480): 1480-1483.
  214. Parker, Jo Alyson. 'Remembering the Future : Memento, the Reverse of Time's Arrow, and the Defects of Memory, in Kronoscope, 4:2, 2004, Brill, Leiden: 252.
  215. Memento, 2000, Christopher Nolan. 0:03:49
  216. Memento, 2000, Christopher Nolan. 01:38:26
  217. Carroll, Noël, 'Memento and the Phenomenology of Comprehending Motion Picture Narration,' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 137/8
  218. Ibid.
  219. Bruner, Jerome S. Beyond the Information Given: Studies in the Psychology of Knowing, 1974, Norton, New York.
  220. Bordwell, David, Poetics of Cinema, 2007, Routledge, London: 136
  221. Carroll, Noël, 'Memento and the Phenomenology of Comprehending Motion Picture Narration,' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 139
  222. Bordwell, David, Poetics of Cinema, 2007, Routledge, London: 141.
  223. Bordwell, David, The Way Hollywood Tells It: Story and Style in Modern Movies, 2006, University of California Press, Berkeley: 82
  224. Bordwell, David, Poetics of Cinema, 2008, Taylor & Francis, New York: 156 135 http://www.salon.com/2001/06/28/memento_analysis/ 136 http://www.salon.com/2001/06/28/memento_analysis/
  225. Memento, 2000, Christopher Nolan. 0:05:45
  226. Little, William G. 'Surviving Memento,' in Narrative, vol. 13.1. January 2005, Ohio State University Press: 68.
  227. Carroll, Noël, 'Memento and the Phenomenology of Comprehending Motion Picture Narration,' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 128.
  228. Sacks, Oliver. The Man Who Mistook His Wife For A Hat: and other clinical tales, 2011, Picador, London: 23.
  229. Kania, Andrew 'Introduction', in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 1.
  230. Memento, 2000, Christopher Nolan. 37:39.
  231. Memento, 2000, Christopher Nolan. 0:19:13 144 http://www.salon.com/2001/06/28/memento_analysis/
  232. Memento, 2000, Christopher Nolan. 1:45:10
  233. Carroll, Noël, 'Memento and the Phenomenology of Comprehending Motion Picture Narration,' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 132.
  234. Wartenberg, Thomas E, 'Beyond Mere Illustration: How Films Can Be Philosophy,' in Murray Smith & Thomas E. Wartenberg (eds), Thinking Through Cinema: Film As Philosophy, 2006, Wiley: 22.
  235. Bragues, George, 'Memory and Morals in Memento: Hume at the Movies', 2008, in Film-Philosophy, vol. 12.2: 66.
  236. Wartenberg, Thomas E, 'Beyond Mere Illustration: How Films Can Be Philosophy,' in Murray Smith & Thomas E. Wartenberg (eds), Thinking Through Cinema: Film As Philosophy, 2006, Wiley: 22.
  237. Kania, Andrew 'Introduction', in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 3.
  238. Carroll, Noël, 'Memento and the Phenomenology of Comprehending Motion Picture Narration,' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York.
  239. Hanley, Richard, 'Memento & Personal Identity: do we have it backwards?' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 107.
  240. Hume, David. A Treatise of Human Nature, 2003 [1738], David Fate Norton and Mary J. Norton (eds), Clarendon, Oxford: 177.
  241. Smith, Murray, Engaging Characters: Fiction, Emotion, and the Cinema , 1995, Clarendon Press, Oxford: 116.
  242. Sutton, John, 'The feel of the world: exograms, habits, and the confusion of types of memory,' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 74
  243. Hanley, Richard, 'Memento & Personal Identity: do we have it backwards?' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 110
  244. Smith, Basil. 'John Locke, Personal Identity, and Memento,' in The Philosophy of Neo-Noir, Mark Conrad (ed.), 2007, University Press of Kentucky.
  245. Hume, David. A Treatise of Human Nature, 2003 [1738], David Fate Norton and Mary J. Norton (eds), Clarendon, Oxford: 165.
  246. Memento, 2000, Christopher Nolan. 0:19:10
  247. Sacks, Oliver. The Man Who Mistook His Wife For A Hat: and other clinical tales, 2011, Picador, London: 29/30 161 Ibid. 115/6.
  248. Bruner, Jerome, Beyond the Information Given: Studies in the Psychology of Knowing, 1973, Norton, New York, 1973, quoted in Bordwell, David, Poetics of Cinema, 2007, Routledge, London: 136
  249. Parker, Jo Alyson. 'Remembering the Future : Memento, the Reverse of Time's Arrow, and the Defects of Memory, in Kronoscope, 4:2, 2004, Brill, Leiden: 245.
  250. Smith, Basil. 'John Locke, Personal Identity, and Memento,' in The Philosophy of Neo-Noir, Mark Conrad (ed.), 2007, University Press of Kentucky: 42
  251. 165 Memento, 2000, Christopher Nolan. 0:53:51
  252. Memento, 2000, Christopher Nolan. 1:41:05
  253. Hanley, Richard, 'Memento & Personal Identity: do we have it backwards?' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 119
  254. Hanley, Richard, 'Memento & Personal Identity: do we have it backwards?' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 119
  255. Read, Rupert, 'The Tale Parfit Tells: Analytic Metaphysics of Personal Identity vs. Wittgensteinian Film and Literature,' in Philosophy and Literature, Vol. 39, 1, April 2015: 137.
  256. Smith, Murray, 'Film Art, Argument, and Ambiguity,' in Murray Smith & Thomas E. Wartenberg (eds), Thinking Through Cinema: Film As Philosophy, 2006, Wiley: 39.
  257. Carroll, Noël, 'Memento and the Phenomenology of Comprehending Motion Picture Narration,' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York.
  258. Memento, 2000, Christopher Nolan. 0:24:06
  259. Currie, Gregory, Narratives and Narrators: A Philosophy of Stories, 2010, Oxford University Press, Oxford/New York: 52.
  260. Bordwell, David, Narration in the Fiction Film, 1985, London, Routledge: 274.
  261. Currie, Gregory, Narratives and Narrators: A Philosophy of Stories, 2010, Oxford University Press, Oxford/New York: 52/3.
  262. Tomasulo, Frank P. 'The Intentionality of Consciousness: Subjectivity in Last Year at Marienbad', in Post Script,Vol. 7.2, Winter 1988: .
  263. Smith, Murray, 'Consciousness,' in The Routledge Companion to Philosophy and Film, by Paisley Livingston and Carl Plantinga (eds), 2009, Routledge, Abingdon / New York: 45.
  264. Currie, Gregory, Narratives and Narrators: A Philosophy of Stories, 2010, Oxford University Press, Oxford/New York: 53.
  265. Oxenhandler, Neal, '"Marienbad" Revisited', in Film Quarterly, Vol. 17, No. 1, Autumn 1963: 32.
  266. Oxenhandler, Neal, '"Marienbad" Revisited,' in Film Quarterly, Vol. 17, No. 1, Autumn 1963: 32-33.
  267. Kovács, András Bálint, Screening Modernism: European Art Cinema, 1950-1980, 2007, University of Chicago Press, Chicago: 105.
  268. Tomasulo, Frank P. 'The Intentionality of Consciousness: Subjectivity in Last Year at Marienbad', in Post Script,Vol. 7.2, Winter 1988: 59.
  269. Bordwell, David, Poetics of Cinema, 2008, Taylor & Francis, New York: 156
  270. Charles, Pieces of Light: The New Science of Memory, 2013, Profile Books, London: 75.
  271. Fernyhough, Charles, Pieces of Light: The New Science of Memory, 2013, Profile Books, London: 6.
  272. 187 Currie, Gregory, Narratives and Narrators: A Philosophy of Stories, 2010, Oxford University Press, Oxford/New York: 53.
  273. Fernyhough, Charles, Pieces of Light: The New Science of Memory, 2013, Profile Books, London: 7. 190 http://www.davidbordwell.net/essays/viewersshare.php
  274. Hanic, Julian, "Omission, Suggestion, Completion: Film and the Imagination of the Spectator," in Screening the Past : an international electronic journal of visual media and history. April 2018, Issue 43: http://www.screeningthepast.com/2018/02/omission-suggestion-completion-film-and-the-imagination-of-the- spectator/
  275. Dennett, Daniel C, 'Self as the Centre of Narrative Gravity,' in Frank S. Kessel, Pamela M. Cole and Dale L. Johnson, (eds), Self and Consciousness: Multiple Perspectives, 1992, Lawrence Erlbaum, New Jersey: 111.
  276. Currie, Gregory, Narratives and Narrators: A Philosophy of Stories, 2010, Oxford University Press, Oxford/New York: 187.
  277. Sacks, Oliver. The Man Who Mistook His Wife For A Hat: and other clinical tales, 2011, Picador, London: 29/30
  278. Carroll, Noël, 'Memento and the Phenomenology of Comprehending Motion Picture Narration,' in Andrew Kania (ed.) Memento (Philosophers on Film), 2009, Routledge, London/New York: 134
  279. Dennett, Daniel C, 'Self as the Centre of Narrative Gravity,' in Frank S. Kessel, Pamela M. Cole and Dale L. Johnson, (eds), Self and Consciousness: Multiple Perspectives, 1992, Lawrence Erlbaum, New Jersey: 109.
  280. Eliot, George. Middlemarch, 1994 [1871-2], Wordsworth Editions Ltd. Ware: 218.
  281. Bordwell, David, 'Art Cinema as a Mode of Film Practice,' in Film Criticism, Fall 1979; 4, 1: 57.
  282. Eder, J. 'Understanding Characters' in Projections, Volume 4, Issue 1, Summer 2010: 28. 200 Ibid. 156.
  283. Smith, Murray, 'Engaging Characters: Further Reflections,' in Revisionen Band 3: Characters in Fictiona l Worlds. Understanding Imaginary Beings in Literature, Film, and Other Media, Jens Eder, Fotis Jannidis and Ralf Schneider (eds), Berlin, New York: de Gruyter 2010: 234.
  284. Smith, Murray, Engaging Characters: Fiction, Emotion, and the Cinema , 1995, Clarendon Press, Oxford: 54.
  285. Bordwell, David. Making Meaning: inference and rhetoric in the interpretation of cinema . 1991, Harvard University Press, Cambridge MA: 151/3.
  286. Strawson, Galen, The Subject of Experience, 2017, Oxford University Press, Oxford: 124.
  287. McAdam, Dan P. The Art and Science of Personality Development, 2015, The Guildford Press, New York/London: 251.
  288. Andrei, Sculpting in Time: Reflections on the Cinema, 1989, London, Faber & Faber: 110.
  289. James, Nick, 'The Tarkovsky Legacy,' in Sight and Sound, Nov. 2015: 46.
  290. Smith, Murray, Engaging Characters: Fiction, Emotion, and the Cinema , 1995, Clarendon Press, Oxford: 131.
  291. Bordwell, David, Poetics of Cinema, 2007, Routledge, London: 154.
  292. Bordwell, David, 'Art Cinema as a Mode of Film Practice,' in Film Criticism, Fall 1979; 4, 1: 60. 211 Ibid.
  293. Peterson, James, 'Is a Cognitive Approach to the Avant-garde Cinema Perverse?', in Post-Theory: Reconstructing Film Studies, David Bordwell and Noël Carroll (eds), 1996, University of Wisconsin Press, London: 117.
  294. Wuss, Peter, Cinematic Narration and its Psychological Impact: Functions of Cognition, Emotion, and Play, 2009, Cambridge Scholars Publishing, Newcastle Upon Tyne: 211.
  295. Strawson, Galen, The Subject of Experience, 2017, Oxford University Press, Oxford: 124. 215 https://aeon.co/essays/let-s-ditch-the-dangerous-idea-that-life-is-a-story
  296. Ibid.
  297. Ibid.
  298. Dennett, Daniel C, 'Self as the Centre of Narrative Gravity,' in Frank S. Kessel, Pamela M. Cole and Dale L. Johnson, (eds), Self and Consciousness: Multiple Perspectives, 1992, Lawrence Erlbaum, New Jersey: 109.
  299. Dennett, Daniel C, 'Self as the Centre of Narrative Gravity,' in Frank S. Kessel, Pamela M. Cole and Dale L. Johnson, (eds), Self and Consciousness: Multiple Perspectives, 1992, Lawrence Erlbaum, New Jersey: 114.
  300. Dennett, Daniel C, 'Self as the Centre of Narrative Gravity,' in Frank S. Kessel, Pamela M. Cole and Dale L. Johnson, (eds), Self and Consciousness: Multiple Perspectives, 1992, Lawrence Erlbaum, New Jersey: 114.
  301. Strawson, Galen, The Subject of Experience, 2017, Oxford University Press, Oxford: 124.
  302. Dennett, Daniel C, 'Self as the Centre of Narrative Gravity,' in Frank S. Kessel, Pamela M. Cole and Dale L. Johnson, (eds), Self and Consciousness: Multiple Perspectives, 1992, Lawrence Erlbaum, New Jersey: 114.
  303. Natasha Synessios, Mirror: The Film Companion, London: LB. Tauris, 2001: 5.
  304. Tarkovsky, Andrei, Sculpting in Time: Reflections on the Cinema, 1989, London, Faber & Faber: 10. 225
  305. Natasha Synessios, Mirror: The Film Companion, London: LB. Tauris, 2001: 5.
  306. Michael Dempsey,'Lost Harmony: Tarkovsky's The Mirror and The Stalker,'' in Film Quarterly v.35 n.l Autumn 1981: 14/15.
  307. Strawson, Galen, 'Against Narrativity,' in Ratio: An International Journal of Analytic Philosophy, Vol. 17, Issue 4: 433.
  308. Ibid.
  309. Dennett, Daniel C, 'Self as the Centre of Narrative Gravity,' in Frank S. Kessel, Pamela M. Cole and Dale L. Johnson, (eds), Self and Consciousness: Multiple Perspectives, 1992, Lawrence Erlbaum, New Jersey: 11
  310. Smith, Murray, Engaging Characters: Fiction, Emotion, and the Cinema , 1995, Clarendon Press, Oxford: 157. 231 Ibid.
  311. Bordwell, David, 'Art Cinema as a Mode of Film Practice,' in Film Criticism, Fall 1979; 4, 1: 59. 233 Ibid. 60.
  312. Andrey, Sculpting in Time: Reflections on the Cinema , trans. Kitty Hunter-Blair, (1986), London, Bodley Head: 63.
  313. McAdam, Dan P. The Art and Science of Personality Development, 2015, The Guildford Press, New York/London: 5.
  314. Smith, Murray, Engaging Characters: Fiction, Emotion, and the Cinema , 1995, Clarendon Press, Oxford: 42.
  315. Lynch, David, Catching the Big Fish: Meditation, Consciousness, and Creativity, 2006, Jeremy P. Tarcher Inc./Penguin, New York: 140/1.
  316. Orr, John, 'A cinema of parallel worlds', Film International, 2009, Vol. 7, Issue 1: 39.
  317. Sinnerbrink, Robert, New Philosophies of Film: Thinking Images, 2011, Continuum, New York: 151.
  318. Smith, Murray, Engaging Characters: Fiction, Emotion, and the Cinema, 1995, Clarendon Press, Oxford: 43.
  319. Wollheim, Richard, Painting as an Art, 1987, London, Thames and Hudson: 21.
  320. Smith, Murray, 'On the Twofoldness of Character,' in New Literary History, Volume 42, Number 2, Spring 2011, Baltimore, JHU Press: 280.
  321. Smith, Murray, 'Engaging Characters: Further Reflections,' in Revisionen Band 3: Characters in Fictional Worlds. Understanding Imaginary Beings in Literature, Film, and Other Media, Jens Eder, Fotis Jannidis and Ralf Schneider (eds), Berlin, New York: de Gruyter 2010: 237.
  322. Ibid. 116.
  323. Power, Dominic, 'Inland Empire review' The Soundtrack, 2007, Vol. 1, No 1, p. 54
  324. Atkinson, Michael, 'Inland Empire review', Sight and Sound, April 2007, vol. 17, 4: 68-9.
  325. Schaffner, Anna Katharina, 'Fantasmatic Splittings and Destructive Desires: Lynch's Lost Highway, Mulholland Drive and Inland Empire,' in Forum for Modern Language Studies, Volume 45, Issue 3, 1 July 2009, Oxford, Oxford University Press: 284.
  326. Ibid.
  327. Atkinson, Michael, 'Inland Empire review', Sight and Sound, April 2007, vol. 17, 4: 68-9.
  328. Ibid. p. 39
  329. Power, Dominic, 'Inland Empire review' The Soundtrack, 2007, Vol. 1, No 1, p. 55
  330. Orr, John, 'A cinema of parallel worlds', Film International, 2009, Vol. 7, Issue 1, p. 30)
  331. Bordwell, David, 'Art Cinema as a Mode of Film Practice,' in Film Criticism, Fall 1979; 4, 1: 59. 254 Ibid: 60.
  332. Ibid.
  333. Lynch, David, Catching the Big Fish: Meditation, Consciousness, and Creativity, 2006, Jeremy P. Tarcher Inc./Penguin, New York: 19/20.
  334. Sinnerbrink, Robert, New Philosophies of Film: Thinking Images, 2011, Continuum, New York: 152.
  335. Bordwell, David, 'Art Cinema as a Mode of Film Practice,' in Film Criticism, Fall 1979; 4, 1: 58/9.
  336. Dennett, Daniel C. 'Self as the Centre of Narrative Gravity,' in Frank S. Kessel, Pamela M. Cole and Dale L. Johnson, (eds), Self and Consciousness: Multiple Perspectives, 1992, Lawrence Erlbaum, New Jersey: 115.
  337. Dennett, Daniel C, 'Self as the Centre of Narrative Gravity,' in Frank S. Kessel, Pamela M. Cole and Dale L. Johnson, (eds), Self and Consciousness: Multiple Perspectives, 1992, Lawrence Erlbaum, New Jersey: 109.
  338. Sinnerbrink, Robert, New Philosophies of Film: Thinking Images, 2011, Continuum, New York: 150.
  339. Schaffner, Anna Katharina, 'Fantasmatic Splittings and Destructive Desires: Lynch's Lost Highway, Mulholland Drive and Inland Empire,' in Forum for Modern Language Studies, Volume 45, Issue 3, 1 July 2009, Oxford, Oxford University Press: 285.
  340. Ibid.
  341. Smith, Murray, Engaging Characters: Fiction, Emotion, and the Cinema , 1995, Clarendon Press, Oxford: 131.
  342. Hume, David. A Treatise of Human Nature, 2003 [1738], David Fate Norton and Mary J. Norton (eds), Clarendon, Oxford: 165.
  343. Hume, David. A Treatise of Human Nature, 2003 [1738], David Fate Norton and Mary J. Norton (eds), Clarendon, Oxford: 177.
  344. Dennett, Daniel C. Consciousness Explained, 1991, Back Bay Books/Little, Brown and Company, New York: 419.
  345. Dennett, Daniel C. 'Self as the Centre of Narrative Gravity,' in Frank S. Kessel, Pamela M. Cole and Dale L. Johnson, (eds), Self and Consciousness: Multiple Perspectives, 1992, Lawrence Erlbaum, New Jersey: 109.
  346. Bruner, Jerome, 'The "Remembered" Self,' in The Remembering Self: Construction and Accuracy in the Self- Narrative, Ulric Neisser and Robyn Fivush (eds), 1994, Cambridge, Cambridge University Press: 53. 270 Ibid.
  347. Prince, Stephen (ed.), The Horror Film, 2004, Wallflower Press, London: 121.
  348. Eisenstein, Sergei, 'A Dialectic Approach to Film Form,' Film Form: Essays in Film Theory, 1949, Harcourt Inc., New York/London: 46.
  349. McAdam, Dan P. The Art and Science of Personality Development, 2015, The Guildford Press, New York/London: 1.
  350. Smith, Murray, Engaging Characters: Fiction, Emotion, and the Cinema , 1995, Clarendon Press, Oxford: 21.
  351. Bordwell, David, The Way Hollywood Tells It: Story and Style in Modern Movies, London: University of California Press, 2006: 89.
  352. Carroll, Noël. Theorizing the Moving Image. 1999, Cambridge University Press, New York: 144
  353. Bordwell, David, 'Art Cinema as a Mode of Film Practice,' in Film Criticism, Fall 1979; 4, 1: 60.
  354. Ebert, Roger, Chicago Sun-Times, Thursday, February 27, 1997.
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