Home > Research > Publications & Outputs > Effects of the dominant in Secret Window.

Electronic data

Links

Text available via DOI:

View graph of relations

Effects of the dominant in Secret Window.

Research output: Contribution to journalJournal articlepeer-review

Published

Standard

Effects of the dominant in Secret Window. / Bettinson, Gary.

In: New Review of Film and Television Studies, Vol. 6, No. 2, 08.2008, p. 151-167.

Research output: Contribution to journalJournal articlepeer-review

Harvard

Bettinson, G 2008, 'Effects of the dominant in Secret Window.', New Review of Film and Television Studies, vol. 6, no. 2, pp. 151-167. https://doi.org/10.1080/17400300802098297

APA

Bettinson, G. (2008). Effects of the dominant in Secret Window. New Review of Film and Television Studies, 6(2), 151-167. https://doi.org/10.1080/17400300802098297

Vancouver

Bettinson G. Effects of the dominant in Secret Window. New Review of Film and Television Studies. 2008 Aug;6(2):151-167. https://doi.org/10.1080/17400300802098297

Author

Bettinson, Gary. / Effects of the dominant in Secret Window. In: New Review of Film and Television Studies. 2008 ; Vol. 6, No. 2. pp. 151-167.

Bibtex

@article{a19b0847272c4d41b5a7aeebdb9ee4aa,
title = "Effects of the dominant in Secret Window.",
abstract = "This paper seeks to identify and examine 'problematic' aesthetic strategies in David Koepp's Secret Window (2004). Arguing that the film fits into a specific 'puzzle film' category favouring self-deceiving protagonists and surprise twists, the paper seeks to account for the negative critical reaction accrued by the film's denouement. Most centrally, I invoke the Russian Formalist's concept of the 'dominant' in order to suggest how Secret Window subordinates textual elements to the film's narrative revelation. It is this prioritising of the main plot twist that accounts for many of the film's dramaturgically contentious tactics. The paper demonstrates the means by which Secret Window cuts against the grain of Hollywood storytelling norms; it suggests that the film manipulates character engagement in a way that exceeds the puzzle film's traditional reshuffling of sympathies; and it indicates how the film deploys generic convention and allusion to engender a highly self-conscious and repressive narration. These arguments aim to show that the film displays bold and sophisticated aesthetic strategies. More broadly, the paper argues that by analysing problematic examples of a film genre, we can usefully disclose the aesthetic principles that underpin the genre's more successful films.",
keywords = "puzzle films, Russian formalism, narration, character engagement",
author = "Gary Bettinson",
note = "The final, definitive version of this article has been published in the Journal, New Review of Film and Television Studies, 6 (2), 2008, {\textcopyright} Informa Plc",
year = "2008",
month = aug,
doi = "10.1080/17400300802098297",
language = "English",
volume = "6",
pages = "151--167",
journal = "New Review of Film and Television Studies",
issn = "1740-0309",
publisher = "Routledge",
number = "2",

}

RIS

TY - JOUR

T1 - Effects of the dominant in Secret Window.

AU - Bettinson, Gary

N1 - The final, definitive version of this article has been published in the Journal, New Review of Film and Television Studies, 6 (2), 2008, © Informa Plc

PY - 2008/8

Y1 - 2008/8

N2 - This paper seeks to identify and examine 'problematic' aesthetic strategies in David Koepp's Secret Window (2004). Arguing that the film fits into a specific 'puzzle film' category favouring self-deceiving protagonists and surprise twists, the paper seeks to account for the negative critical reaction accrued by the film's denouement. Most centrally, I invoke the Russian Formalist's concept of the 'dominant' in order to suggest how Secret Window subordinates textual elements to the film's narrative revelation. It is this prioritising of the main plot twist that accounts for many of the film's dramaturgically contentious tactics. The paper demonstrates the means by which Secret Window cuts against the grain of Hollywood storytelling norms; it suggests that the film manipulates character engagement in a way that exceeds the puzzle film's traditional reshuffling of sympathies; and it indicates how the film deploys generic convention and allusion to engender a highly self-conscious and repressive narration. These arguments aim to show that the film displays bold and sophisticated aesthetic strategies. More broadly, the paper argues that by analysing problematic examples of a film genre, we can usefully disclose the aesthetic principles that underpin the genre's more successful films.

AB - This paper seeks to identify and examine 'problematic' aesthetic strategies in David Koepp's Secret Window (2004). Arguing that the film fits into a specific 'puzzle film' category favouring self-deceiving protagonists and surprise twists, the paper seeks to account for the negative critical reaction accrued by the film's denouement. Most centrally, I invoke the Russian Formalist's concept of the 'dominant' in order to suggest how Secret Window subordinates textual elements to the film's narrative revelation. It is this prioritising of the main plot twist that accounts for many of the film's dramaturgically contentious tactics. The paper demonstrates the means by which Secret Window cuts against the grain of Hollywood storytelling norms; it suggests that the film manipulates character engagement in a way that exceeds the puzzle film's traditional reshuffling of sympathies; and it indicates how the film deploys generic convention and allusion to engender a highly self-conscious and repressive narration. These arguments aim to show that the film displays bold and sophisticated aesthetic strategies. More broadly, the paper argues that by analysing problematic examples of a film genre, we can usefully disclose the aesthetic principles that underpin the genre's more successful films.

KW - puzzle films

KW - Russian formalism

KW - narration

KW - character engagement

U2 - 10.1080/17400300802098297

DO - 10.1080/17400300802098297

M3 - Journal article

VL - 6

SP - 151

EP - 167

JO - New Review of Film and Television Studies

JF - New Review of Film and Television Studies

SN - 1740-0309

IS - 2

ER -