The name is absent



Appendix 3.2: Sample films - synopses and character lists

SUMMER HOLIDAY UK 63

21

Diners in the Austrian restaurant_________________

4____

22

Musicians in the Austrian restaurant_____________

4_____

23

Chief guard at the Yugoslav border post___________

4_____

24

Guards at the Yugoslav border post________________

4_____

25

Men waving at the roadside, Yugoslavia

4_____

26

Men with scythes, Yugoslave farm__________________

4_____

27

Men in farm buildings, Yugoslavia_________________

4_____

28

Father of the lBride1, Yugoslavia_________________

4_____

29

Men in the village street, Yugoslavia

4_____

30

Passers by, Athens_________________________________

4____

31

Journalists∕photographers, Athens street_________

4_____

32

Mr Ragmore_______________________________________

3_____

33

Athens police____________________________________

4_____

34

JournalistsZphotographers, Athens hotel press
reception

4

35

Four musicians in Greek costume

4_____

TOM JONES dir Tony Richardson UK 1963

Fielding's novel is converted in this film into an engaging
fairy story complete with a handsome young hero, a beautiful
young heroine, several thoroughly unpleasant villains and
various other fairly crudely drawn characters. The plot is
both introduced and commented upon as it unfolds by a narrator
who, though extra diegetic in the sense that he is not a
character in the story, is yet intra diegetic because he
invites complicity from the audience with the (supposedly)
eighteenth century values which the film presents. His
discourse is at once informative and ironic. The story is set
in eighteenth century England, in the pastoral west country
and in pre-industrial London. Not only are many of the major
characters essentially stereotypes familiar from fairy
stories, so too are the settings in which they act. Events,
characters and time itself are all represented schematically.
The countryside is always sunny, the roses always blooming
profusely; London streets are crowded, London salons elegant.
The narrative is studded with set pieces having more or less
tenuous links with the strict requirements of narrative flow.
The hunt scene, for example, eventually results in the
heroine's horse bolting: she can then be rescued by the hero
who breaks his arm in the process thus presenting a legitimate

277



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