ambiguity, author, BARTON FINK, MILLER'S CROSSING, Roland Barthes, symbolism -

Someone sent me a script. It’s a pretty straight-forward narrative until act three, at which point the action shifts into a dreamlike space with a lot of symbolism and absurdity, etc. The writer asked me if I understood what the ending “meant.” To which I replied: “It doesn’t matter.” Because: Once the script starts indulging in dreamlike cinematic choices, the “meaning” of these choices no longer belong to the writer, or even to the film. They belong to the view of the film, the audience. This is The Death of the Author, as touched on by Roland Barthes in his...

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