ABSTRACT

This article is devoted to a study of point of view in screenplay narrative. Starting from the concepts of Monika Fludernik and Manfred Jahn, who investigated focalisation derived from the principles of morphological poetics, the analysis follows the gradations of point of view and its transition from narrator to character, using the example of the screenplays for the film A Fragment of the Empire. Changing point of view corresponds to the transformation of the literary scenario into the director’s script and is presented as conflict: in the scenes of the return of memory, the character transitions from a naive ‘folkloric’ vision of the world to madness, which later finds its reflection in the film.

摘要

本文致力于研究剧本叙事中的观点。从 Monika Fludernik 和 Manfred Jahn 的概念开始，他们研究了源自形态诗学原理的聚焦，分析遵循观点的层次及其从叙述者到角色的转变，以电影片段为例帝国的。视角的变化对应着文学场景向导演剧本的转变，并表现为冲突：在记忆回归的场景中，角色从对世界的天真“民俗”愿景转变为疯狂，后来发现它在电影中的反映。