| Acknowledgments |
|
vii |
| Introduction |
|
1 |
| Part One: Problematic Protagonists |
|
25 |
| Chapter 1: |
The Ambivalent Protagonist in Stranger Than Paradise |
27 |
| Chapter 2: |
The Passive Protagonist in Safe |
46 |
| Chapter 3: |
Shifting Protagonists in Fargo |
65 |
| Part Two: Multiple-Plot Films |
|
85 |
| Chapter 4: |
Multiple Plots and Subplots in Trust |
87 |
| Chapter 5: |
Shifting Goals and Plotlines in Gas Food Lodging |
105 |
| Chapter 6: |
The Ensemble Structure of Me and You and Everyone We Know |
123 |
| Part Three: Temporal Structures |
|
141 |
| Chapter 7: |
The Flashback Structure of Reservoir Dogs |
143 |
| Chapter 8: |
The Temporal Complexity of Elephant |
162 |
| Chapter 9: |
Memento as Puzzle Film |
180 |
| Part Four: Noncausal Structures |
|
199 |
| Chapter 10: |
Dream Logic and Mulholland Dr. |
201 |
| Chapter 11: |
Free Association and Gummo |
220 |
| Chapter 12: |
The Character-Based Structure of Slacker |
238 |
| Conclusion |
|
257 |
| Notes |
|
267 |
| Bibliography |
|
281 |
| Index |
|
285 |
