Essay about Analysis Of The Movie ' The Kid Stays 's The Picture '

Essay about Analysis Of The Movie ' The Kid Stays 's The Picture '

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Conceptions of truth and absolutes are difficult terrains to navigate, complicated by notions of relativity and perspective. In his autobiography “The Kid Stays in the Picture,” film producer Robert Evans writes, “There are three sides to every story: your side, my side, and the truth. And no one is lying.” The underlying presumption of statements such as this one may point to one possible reason for the allure of the unreliable narrator as a literary device. Such narrators provoke the discerning reader into questioning the very nature of the narrator and what might make one distinctly unreliable. Many first-person narrators are unreliable, particularly ones that are involved characters with narrative agency, insofar as they can transmit a narrative only as they experienced it, through their own personal filter on the world, colored by outlook and attitude.
Often, the individuality – and unreliability – of a narrative comes down to just that; nuances in internalization and judgment of an event based on a person’s conception of reality as they perceive it. Any number of circumstances – youth and mental illness, as examples – can compromise a person’s ability to give a scrupulous account of events that aligns with external reality. In his essay “Types of Narration,” Booth writes that, “In fiction, as soon as we encounter an “I,” we are conscious of an experiencing mind whose views of the experience will come between us and the event” (Booth, 152). Through a sense of relatability, they point to the ways in which we justify our actions or recalibrate cognitive dissonance, to the way we fill or supplement gaps in our memories. But sometimes, narrative inconsistencies or falsehoods stem from something far more menacing than person...


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...ll love scribbling that word— WRITER.” Whatever identity Amy perceives of herself outside of her alter-ego’s is by means of her writing. Throughout the book, she is constantly “set[ting] the scene” for the reader, revealing her need to chronicle her life in story form. Amy consistently references Gothic and Victorian tropes, further demonstrating her compulsion to define her life against other narrative models. “Of course she wants to stage-manage this. She wants the image of me and the wild running river, my hair ruffling in the breeze as I look out onto the horizon and ponder our life together.” Amy’s husband recognizes that she needs him to perform within an uninspired scene, as if he were just a secondary character in her book with a limited narrative function. She employs stockpile clichés to fulfill certain expectations of what her story is meant to look like.

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