![]() ![]() ![]() Our analysis may begin by noting the obvious. Finally, the film illustrates how narration can manipulate the audience’s knowledge, sometimes making drastic shifts from moment to moment. Its plot composition and its motivations for action contribute to making the film what a scriptwriter would call “tight.” Moreover, the film also offers an object lesson in the use of cinematic style for narrative purposes. Like His Girl Friday, The Man Who Knew Too Much presents us with a model of narrative construction. With permission from Bordwell and Thompson, it is republished here (from the 1988 second edition, in which it last appeared), illustrated with images and film clips from the recent Criterion release of the film. Among these dropped pieces is the authors’ analysis of Alfred Hitchcock’s 1934 The Man Who Knew Too Much. Over the years, some sections have been taken out, either to make room for new content or because the films they treated were no longer in circulation. David Bordwell and Kristin Thompson’s textbook Film Art, a cornerstone of the cinema studies discipline, was first published in 1979 and is now in a tenth edition. ![]()
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