12019-01-27T20:05:21+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b12A Farewell to Arms (1932)plain2019-01-27T20:22:31+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bIn this point-of-view sequence, notice how the lack of information encourages identification with Frederic. He is unfamiliar with this new location, and so are we. He is desperate to know if he may meet his beloved Catherine at this hospital, and so are we. Of course, we know that we are watching a film, so our identification can never be total. But the filmmakers produce an affinity between Frederic’s exceedingly limited state of knowledge and our own.
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12019-01-25T22:37:11+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3bChapter Two: Purposes and ParallelsPatrick Keating6This chapter covers the years after the transition to sound.plain832019-01-28T02:06:58+00:00Patrick Keatingfdfdb363527b48ac29800c3d2a6f44da6939bc3b
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12019-01-25T22:48:15+00:002.9 A Farewell to Arms1A Farewell to Arms (1932)plain2019-01-25T22:48:15+00:00Critical Commons19322019-01-24T19:46:37ZVideoFrank BorzageA Farewell to Arms