ABSTRACT. This article reviews Bailey and Girgus (2013) and supplements it with theoretically based empirical research. In the present paper, I focus on the philosophical substance of Allen’s films, his employment of framing devices and films-within-films, his romantic links with popular culture, and his utilization of various aesthetic forms. The mainstay of the paper is formed by an analysis of Allen’s development of the cinematic narrative, his self-conscious formulation of his own auteur distinctiveness, the depressing tonalities in his films, and the fixation on death in his work. pp. 56–67

Keywords: Allen; cinematic narrative; cultural identity; illusion; reality; self-reference

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Institute of Interdisciplinary Studies in
Humanities and Social Sciences, New York;
Spiru Haret University

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