The Narrator and the Narrative: The Evolution of Woody Allen's Film Comedies

[...]of his experiences doing stand-up comedy (reflected in his characterizations of Alvy Singer and Broadway Danny Rose), Alien developed the need for complete control over his work. [...]the cherished relationship between comic and audience proves as viable as the narrative mechanisms over which it has always been privileged. The tracking shot, usually framed in a recognizable New York cityscape, can, on the other hand, be related to the final shot of Love and Death (even though the characters' movements were presented there through a static camera) in that both stylistic choices emphasize narrative linearity and classical causality at the expense of the author. [...]the obvious autobiographical nature of much of the film shows the ability of the Alien text (originally the ability of the comic) to turn personal experience into narrative, just as, later on, in Zelig and Radio Days, history will also be turned into narrative.12 Notes The research towards this paper was carried out with the financial aid of the DGICYT, research project no.