p.o.v.

Number 3, March 1997

CONTENTS

On this third issue of p.o.v.

Three Recent Short Fiction Films

1. Pål Sletaune, EATING OUT (Norway, 1993)
   Film data
   Post production shooting script (reconstructed by Richard Raskin)
   Anne Marie Olesen: Insisting on form-Eating out
   Richard Raskin: Eating Out and the æsthetics of surprise
   
   
2. Dorthe Scheffmann, THE BEACH (New Zealand, 1995)
   Film data
   Frances Edmond: The Beach (1st draft of the screenplay)
   Post production screenplay (reconstructed by Richard Raskin)
   Richard Raskin: An interview with Dorthe Scheffmann
   Anne Marie Olesen: Ombytningens forskelsløshed-om The Beach
   
   
3. Daphna Levin, THE PRICE IS RIGHT (Israel, 1994)
   Film data
   Post production screenplay (reconstructed by Richard Raskin)
   

   Sébastien Doubinsky: The myths of Jewish humor: a reflection on

   Daphna Levin's The Price is Right
   

   Richard Raskin: On causality in The Price is Right
   
   
4. On two or all three of the above films
   

   Philippe Viallon: Pictures of movement and movement of pictures:

   Theoretical prolegomena and other comments on three short films
   

   Edvin Kau: Sense of emotion-in space. Sense of place-in time
   

   Søren Kolstrup: The moving image and its relations to

   the still picture (paintings, drawings, photos)
   
   

   The Contributors

On this third issue of p.o.v.

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It is no coincidence that these pages are devoted to the same three prize-winning short fiction films which will be the focus of The Second International Short Film Symposium to be held at Aarhus University, in March 1997: Pål Sletaune's Eating Out (Norway, 1993), Dorthe Scheffmann's The Beach (1995) and Daphna Levin's The Price Is Right (Israel, 1994).

For the contributors to this issue, p.o.v. served as a preparation for the symposium, ensuring that those of us who teach and do research on film at the Department of Information and Media Science at Aarhus University, have worked closely enough with the films to have fruitful discussions with the directors about their work. For the readers of this issue, p.o.v. will serve as a follow-up to the symposium, providing information about the three films and exploring various aspects of their storytelling and other æsthetic properties.

We are pleased to be able to include an important document in this issue: Frances Edmond's first draft of the screenplay for The Beach. We are grateful both to screenwriter, Frances Edmond, and to director, Dorthe Scheffmann, for enabling us to print the previously unpublished screenplay here.

We wish to thank Kathleen Drumm at the New Zealand Film Commission, Inge Skrede at the Norwegian Film Institute, and Ruth Diskin at the Jerusalem Film and Television School, for providing stills from the three films. We would also like to thank the three directors for graciously allowing us to illustrate our articles with a number of other stills from their films, through the process of electronic "frame-grabbing."

Finally, we wish to thank those contributors outside the editorial committee, who accepted our invitation to write articles for this issue: Anne Marie Olesen, also from the Department of Information and Media Science; Sébastien Doubinsky, from the Romance Language Department, and Philippe Viallon, from the University of Lyon 2.

It is our hope that the readers of this issue find that the film data, screenplays and articles it contains, will enhance and deepen their enjoyment of Eating Out, The Beach and The Price is Right. At the same time, we hope that the questions raised in our articles will be of a more general interest as well to readers concerned with film æsthetics in a broader perspective.

Richard Raskin

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