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Greg M. Smith

This article argues that an emphasis on how spectators piece together documentary structure is more useful than nonfiction film theory's focus on epistemology and categorization. By examining individual texts such as The Aristocrats, critics can develop a set of devices that provide a better explanation of documentary comprehension at the local level. As an example, this article shows how a spectatorial position as an insider in the comedy world and the device of the "conversational turn" help us both segment the documentary flow and unify it.

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Paul Messaris, Cynthia Freeland, Sheena Rogers, Malcolm Turvey, Greg M. Smith, Daniel T. Levin, Alicia M. Hymel and Tim J. Smith

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Paul Messaris, Cynthia Freeland, Sheena Rogers, Malcolm Turvey, Greg M. Smith, Daniel T. Levin, Alicia M. Hymel and Tim J. Smith

CONTINUITY AND ITS DISCONTENTS

Paul Messaris

CONTINUITY, NARRATIVE, AND CROSS-MODAL CUING OF ATTENTION

Cynthia Freeland

AUTEUR OF ATTENTION: THE FILMMAKER AS COGNITIVE SCIENTIST

Sheena Rogers

THE CONTINUITY OF NARRATIVE COMPREHENSION

Malcolm Turvey

CONTINUITY IS NOT CONTINUOUS

Greg M. Smith

MAKING THE CASE FOR NONPREDICTIVE CONTINUITY PERCEPTION

Daniel T. Levin and Alicia M. Hymel

EXTENDING ATOCC: A REPLY

Tim J. Smith