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Appendix 3.2: Sample films - synopses and character lists

MARNIE US 64

17	Jockeys at Atlantic City race track_______________	4_____
18	Man who recognises Marnie at the track____________	3_____
19	Spectators, Atlantic City track___________________	4____
20	Waiter, Atlantic City track_______________________	4_____
21	Old Mr Rutland, Mark's father_____________________	3_____
22	Night porter at Rutlands__________________________	4____
23	Customers in the diner	4_____
24	Bob, Mark's cousin	3_____
25	Dr Gillet__________________________________________	4_____
26	Diners on board ship	4_____
27	Passengers in the ship's bar	4_____
28	Mr Boyle, investigator, not seen but spoken to on the phone	4
29	Guests at the Rutland dinner party	4_____
30	Rutland manservant	4_____
31	Riders at the hunt	4____
32	Sailor in the flashback sequence	3_____
33	Billy, Marnie's father, not seen but referred to in dialogue	4

MARY POPPINS dir Robert Stevenson US 1965

This is a musical, a fairy story which skilfully combines
animation and live action in its construction of a rather
Dickensian version of Edwardian London. Not only are there
animation sequences but also other filmic devices are used
which draw attention to the fact of celluloid such as speeded
up action (the first nursery sequence), ^,magic* tricks (such
as popping through pavement pictures) and unlikely feats (such
as the repeated scenes of narrowly averted distaster whenever
Admiral Boom fires his cannon). Most important of all, in
respect of the audience's continual awareness of the celluloid
basis of the imagery, is the direct address to camera early in
the film which acknowledges the audience and solicits its
attention rather like a narrator in live theatre - in
pantomime or music hall. In the opening scene Bert (Dick Van
Dyke) looks directly at camera and greets ^,us^,: 'Hello, it's
you!' Later he tells Admiral Boom 'Got some parties here in
tow what wants to see 'em' (the Banks family). Although the
major domestic interior, the Banks' home at no. 17, Cherry
Tree Lane, is both spatially and diegetically consistent, the

264

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